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 Kosovo and from Houston.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and Taipei.
I'm losing my edge to the art-school Johannesburg 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 Wire practice in a loft in Watford.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Hoover to the rap kids.
I played it at the Hacienda.
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 Fire Engines. All the underground hits.
All Carl Craig tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Fatback Band record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Kerrie Biddell,
Glambeats Corp.,
Marshall Jefferson,
Swans,
The Neon Judgement,
Kauko Röyhkä ja Narttu,
The Litter,
Rufus Thomas,
John Coltrane,
Pharoah Sanders,
Moss Icon,
Jesper Dahlbäck,
Sun City Girls,
Black Bananas,
The United States of America,
The Young Rascals,
The Barracudas,
John Lydon,
The J.B.'s,
Bobby Sherman,
Eyeless In Gaza,
Joe Smooth,
Maurizio,
Depeche Mode,
The Fuzztones,
The Gun Club,
Dark Day,
Oppenheimer Analysis,
Section 25,
Kayak,
One Last Wish,
Niagra,
X-101,
Boz Scaggs,
Angels of Light & Akron/Family,
The Pretty Things,
Amon Düül,
The Slackers,
The Mummies,
Supertramp,
Al Stewart,
Eric Dolphy,
Franke,
Nirvana,
Con Funk Shun,
Liliput,
E-Dancer,
Drexciya,
Matthew Halsall,
Warren Ellis,
Lucky Dragons,
Bush Tetras,
Jerry Gold Smith,
Alice Coltrane,
Electric Prunes,
Roxy Music,
The Birthday Party,
The Kinks,
Lou Christie,
Quando Quango,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.