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 Malaysia and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Mexico City.
I'm losing my edge to the art-school Seoul 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 1968 at the first Can practice in a loft in Cologne.
I was working on the arpeggiator 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 Kerrie Biddell to the grime 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 Joey Negro. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Ultramagnetic MC's,
Siouxsie and the Banshees,
The Techniques,
Lightning Bolt,
Eden Ahbez,
Mad Mike,
Pierre Henry,
Rosa Yemen,
Jerry Gold Smith,
Grandmaster Flash and the Furious Five,
Deepchord,
World's Most,
Zero Boys,
The Durutti Column,
Tom Boy,
It's A Beautiful Day,
Electric Prunes,
the Soft Cell,
Stereo Dub,
Royal Trux,
Bronski Beat,
Lucky Dragons,
Massinfluence,
Scion,
Crime,
Mary Jane Girls,
Moss Icon,
Matthew Bourne,
Henry Cow,
Q and Not U,
Marc Romboy vs. Booka Shade,
The Remains,
The Beau Brummels,
Sonny Sharrock,
Ornette Coleman,
Lizzy Mercier Descloux,
Little Man,
Bad Manners,
Kauko Röyhkä ja Narttu,
Sällskapet,
Amazonics,
Magma,
The Gories,
Absolute Body Control,
Agent Orange,
Eric B and Rakim,
The Searchers,
Con Funk Shun,
Gil Scott Heron,
Chris Corsano,
Althea and Donna,
the Germs,
PIL,
The Jesus and Mary Chain,
Model 500,
Niagra,
D'Angelo,
Ponytail,
A Certain Ratio,
Tropical Tobacco,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.