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 Lebanon and from Sao Paulo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
I'm losing my edge to the art-school Paris 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the snare 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 Dennis Brown to the disco kids.
I played it at the Hacienda.
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 Heavy D & The Boyz. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every John Coltrane record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
Gerry Rafferty,
Visage,
T. Rex,
Newcleus,
Quando Quango,
Q and Not U,
Masters at Work,
The United States of America,
Tomorrow,
London Community Gospel Choir,
Rites of Spring,
Suburban Knight,
Sad Lovers and Giants,
Arthur Verocai,
Eric Copeland,
The Cramps,
Lizzy Mercier Descloux,
A Certain Ratio,
Saccharine Trust,
Delon & Dalcan,
June Days,
New Age Steppers,
Roy Ayers Ubiquity,
Underground Resistance,
Rhythim Is Rhythim,
Harry Pussy,
Scrapy,
Scratch Acid,
Aloha Tigers,
Goldenarms,
Alison Limerick,
Andrew Hill,
Fela Kuti,
Sound Behaviour,
Byron Stingily,
The Blues Magoos,
Icehouse,
Magazine,
The Pop Group,
Oblivians,
Aural Exciters,
DJ Style,
MDC,
Ultra Naté,
Arcadia,
Young Marble Giants,
Rahsaan Roland Kirk,
Kaleidoscope,
Eurythmics,
Jacques Brel,
Stereo Dub,
Iggy Pop,
Faraquet,
Lebanon Hanover,
N.O.R.E. Featuring Pharrell,
Nico,
DeepChord presents Echospace,
Heavy D & The Boyz,
Warsaw,
Half Japanese,
Joensuu 1685,
These Immortal Souls,
Technova,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.