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 Thailand and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1961 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Stockholm.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator sounds with much patience.
I was there when Donald Fagen 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 The Remains to the electroclash 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 Little Man. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every Davy DMX record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alice Coltrane,
Yazoo,
Chrome,
Erasure,
Black Sheep,
Quadrant,
Make Up,
New York Dolls,
Althea and Donna,
Isaac Hayes,
Moss Icon,
Godley & Creme,
The Shadows of Knight,
Juan Atkins,
Visage,
Underground Resistance,
EPMD,
Mission of Burma,
Bill Wells,
The Fire Engines,
Brass Construction,
Joyce Sims,
Ultimate Spinach,
The Seeds,
Supertramp,
The Alarm Clocks,
Loose Ends,
Cymande,
Massinfluence,
Crooked Eye,
Television Personalities,
Barrington Levy,
Lee Hazlewood,
Rapeman,
Darondo,
Notorious Big And Bone Thugs,
Leonard Cohen,
Sound Behaviour,
Crispy Ambulance,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron & Brian Jackson,
ABC,
Fat Boys,
Swans,
The American Breed,
Stetsasonic,
Anakelly,
H. Thieme,
The Cosmic Jokers,
Kauko Röyhkä ja Narttu,
Smog,
Crime,
Sixth Finger,
Lungfish,
Todd Terry,
Newcleus,
Robert Wyatt,
Radio Birdman,
The Names,
Anthony Braxton,
Bootsy Collins,
Donald Byrd,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.