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 Comoros and from Edmonton.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school New York 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator 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 Minnie Riperton to the electroclash kids.
I played it at the Crocodile.
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 Golliwogs. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liaisons Dangereuses,
The Black Dice,
The Music Machine,
Kauko Röyhkä ja Narttu,
Buzzcocks,
L. Decosne,
June Days,
Subhumans,
The Stooges,
The Red Krayola,
Qualms,
Heavy D & The Boyz,
Ultimate Spinach,
Charles Mingus,
Lebanon Hanover,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Parry Music,
Thinking Fellers Union Local 282,
Lizzy Mercier Descloux,
Grandmaster Flash and the Furious Five,
Susan Cadogan,
Funky Four + One,
Altered Images,
Absolute Body Control,
Joyce Sims,
Faraquet,
X-102,
Angels of Light & Akron/Family,
Chris & Cosey,
James White and The Blacks,
Newcleus,
UT,
The Fall,
Camberwell Now,
CMW,
Peter and Kerry,
Arcadia,
Sexual Harrassment,
Mary Jane Girls,
Jacob Miller,
Marc Almond,
Selector Dub Narcotic,
Tomorrow,
Stereo Dub,
Ronnie Foster,
The Flesh Eaters,
Khruangbin,
Gil Scott Heron,
Shuggie Otis,
Model 500,
Colin Newman,
Harry Pussy,
Lyres,
Pylon,
Simply Red,
Wally Richardson,
Bill Wells,
Vaughan Mason & Crew,
Bang On A Can,
The Royal Family And The Poor,
The Moody Blues,
Nik Kershaw,
Echo & the Bunnymen,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.