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 Korea North and from Mexico City.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the harpsichord 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 Dawn Penn to the punk 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 The Searchers. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Skarface 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Grauzone,
Jacques Brel,
Sight & Sound,
Johnny Clarke,
LL Cool J,
Lizzy Mercier Descloux,
Avey Tare's Slasher Flicks,
Gil Scott-Heron and Jamie xx,
Buzzcocks,
Pulsallama,
The Shadows of Knight,
Nik Kershaw,
The Sound,
Peter Gordon & Love of Life Orchestra,
Popol Vuh,
Ken Boothe,
Blossom Toes,
Stiv Bators,
Theoretical Girls,
The Gap Band,
Graham Central Station,
Gang Green,
Teenage Jesus and the Jerks,
Robert Görl,
The Saints,
Gregory Isaacs,
Black Pus,
a-ha,
Duran Duran,
Vladislav Delay,
The Misunderstood,
Man Parrish,
The Fortunes,
The Vogues,
Arcadia,
Inner City,
Grandmaster Flash and the Furious Five,
Terry Callier,
Excepter,
Barbara Tucker,
Todd Rundgren,
Bill Near,
Jacob Miller,
Ajijia Myrayebe,
The Dave Clark Five,
Ultramagnetic MC's,
Harmonia,
Selector Dub Narcotic,
John Holt,
Sound Behaviour,
Man Eating Sloth,
Arthur Verocai,
Brand Nubian,
Notorious Big And Bone Thugs,
Super Lover Cee & Casanova Rud,
Anakelly,
Magma,
Godley & Creme,
Nation of Ulysses,
Ornette Coleman,
Art Ensemble Of Chicago,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.