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 Slovenia and from Delhi.
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 1971.
I'm losing my edge.
To all the kids in Paris and Tehran.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Quantec to the punk kids.
I played it at Trash.
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 Selector Dub Narcotic. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Porter Ricks,
Supertramp,
Heaven 17,
Ultramagnetic MC's,
James White and The Blacks,
Robert Hood,
Glenn Branca,
T.S.O.L.,
The New Christs,
Symarip,
Tom Boy,
Animal Collective,
The Motions,
Public Enemy,
Louis and Bebe Barron,
Terrestrial Tones,
David McCallum,
A Flock of Seagulls,
Au Pairs,
Eve St. Jones,
Soulsonic Force,
John Holt,
In Retrospect,
The Barracudas,
London Community Gospel Choir,
Crooked Eye,
The United States of America,
Yazoo,
Bluetip,
Deutsch Amerikanische Freundschaft,
Skarface,
Mission of Burma,
the Soft Cell,
Lalo Schifrin,
Cal Tjader,
Alphaville,
Amon Düül II,
Bronski Beat,
Echospace,
The Stooges,
Scion,
Rhythm & Sound,
Terror Squad Feat. Camron,
The Victims,
The Dead C,
the Germs,
Cheater Slicks,
Matthew Halsall,
Todd Terry,
Mary Jane Girls,
cv313,
Pole,
Harmonia,
Kango’s Stein Massive,
Joe Finger,
Aaron Thompson,
Brass Construction,
H. Thieme,
Blancmange,
Nirvana,
Glambeats Corp.,
the Slits, the Slits, the Slits, the Slits.
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.