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 Papua New Guinea and from Glasgow.
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 1978.
I'm losing my edge.
To all the kids in Portland and Accra.
I'm losing my edge to the art-school Taipei 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Cymande to the funk kids.
I played it at the 40 Watt.
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 Outsiders. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
KRS-One,
Lonnie Liston Smith,
The Pretty Things,
The Real Kids,
PIL,
Tommy Roe,
Marcia Griffiths,
The Music Machine,
Lou Reed & John Cale,
Loose Ends,
The Neon Judgement,
Fela Kuti,
Faraquet,
The American Breed,
Red Lorry Yellow Lorry,
Tropical Tobacco,
Idris Muhammad,
Suicide,
Black Bananas,
The Seeds,
The Selecter,
the Swans,
The Fugs,
Sister Nancy,
Pete Rock & C.L. Smooth,
Pantytec,
Scrapy,
Barry Ungar,
Terror Squad Feat. Camron,
ABBA,
La Düsseldorf,
Notorious BIG live in Amsterdam,
Eric Copeland,
Godley & Creme,
The Cramps,
Boz Scaggs,
Con Funk Shun,
Sparks,
Freddie Wadling,
The Peanut Butter Conspiracy,
Nick Cave & The Bad Seeds,
John Coltrane,
Reagan Youth,
Stetsasonic,
Henry Cow,
Moebius,
Black Moon,
Boredoms,
Morten Harket,
Visage,
Kurtis Blow,
Goldenarms,
Glenn Branca,
Fort Wilson Riot,
Man Parrish,
Blake Baxter,
Faust,
Lindisfarne,
Richard Hell and the Voidoids,
Pierre Henry,
Scott Walker + Sunn O))),
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.