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 Kenya 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 1965 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Lille.
I'm losing my edge to the art-school Edmonton 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Ultra Naté to the grime kids.
I played it at the Troubador.
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 Kango’s Stein Massive. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
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 Delon & Dalcan 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?
Todd Rundgren,
World's Most,
Wasted Youth,
Andrew Ashong & Theo Parrish,
The Beau Brummels,
Rahsaan Roland Kirk,
Lalann,
Alice Coltrane,
The Raincoats,
Amon Düül,
Masters at Work,
Ornette Coleman,
Kerrie Biddell,
E-Dancer,
Spoonie Gee,
DJ Sneak,
LL Cool J,
Rapeman,
U.S. Maple,
the Swans,
Black Pus,
The Birthday Party,
The Jesus and Mary Chain,
It's A Beautiful Day,
Ohio Players,
Laurel Aitken,
K-Klass,
Public Image Ltd.,
Terror Squad Feat. Camron,
Aaron Thompson,
Electric Prunes,
Make Up,
Jacques Brel,
James Chance & The Contortions,
Mission of Burma,
Chris Corsano,
KRS-One,
Magazine,
Scott Walker + Sunn O))),
The Doors,
New York Dolls,
the Human League,
Delta 5,
Lonnie Liston Smith,
L. Decosne,
The New Christs,
Eric Copeland,
Thinking Fellers Union Local 282,
Boz Scaggs,
Bluetip,
Q and Not U,
Reuben Wilson,
Visage,
Spandau Ballet,
the Association,
Scratch Acid,
The Modern Lovers,
Main Source,
This Heat,
The Leaves,
Gil Scott-Heron & Brian Jackson,
Richard Hell and the Voidoids,
Todd Terry,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.