Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Nigeria and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
I'm losing my edge to the art-school Manila kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Depeche Mode to the crunk kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Electric Prunes. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every The J.B.'s record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Jacques Brel,
Guru Guru,
Kango’s Stein Massive,
Unrelated Segments,
Mission of Burma,
The Raincoats,
Mary Jane Girls,
Model 500,
OOIOO,
Jesper Dahlback,
Isaac Hayes,
MC5,
Dead Boys,
Henry Cow,
The Music Machine,
X-Ray Spex,
Lalann,
The Remains,
Rod Modell,
Circle Jerks,
H. Thieme,
Judy Mowatt,
Lee Hazlewood,
Gastr Del Sol,
Lou Reed,
Arthur Verocai,
the Association,
Theoretical Girls,
Sad Lovers and Giants,
London Community Gospel Choir,
Larry & the Blue Notes,
The Smiths,
cv313,
Lungfish,
Scientists,
Khruangbin,
Banda Bassotti,
Kerrie Biddell,
Swell Maps,
Wally Richardson,
The Cure,
Faraquet,
the Soft Cell,
Deakin,
Darondo,
Godley & Creme,
The Fugs,
Supertramp,
Agent Orange,
Janne Schatter,
Shoche,
Rakim,
Scratch Acid,
Joey Negro,
Metal Thangz,
The Last Poets,
Delta 5,
The Velvet Underground,
Black Pus, Black Pus, Black Pus, Black Pus.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.