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 Netherlands and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1962 to 1977.
I'm losing my edge.
To all the kids in Tehran and Sao Paulo.
I'm losing my edge to the art-school Milan 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 David Bowie 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 Skatalites to the rap 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 Procol Harum. All the underground hits.
All The Durutti Column tracks. I heard you have a vinyl of every The Pop Group 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gladiators,
Roy Ayers,
Darondo,
a-ha,
Tomorrow,
Jesper Dahlbäck,
In Retrospect,
The Sonics,
the Bar-Kays,
Flamin' Groovies,
Banda Bassotti,
Jeff Mills,
Röyhkä ja Rättö ja Lehtisalo,
The Human League,
Sly & The Family Stone,
Cymande,
Lalann,
Jesper Dahlback,
A Certain Ratio,
Average White Band,
R.M.O.,
Vladislav Delay,
Marcia Griffiths,
Isaac Hayes,
Pylon,
F. McDonald,
Eli Mardock,
Excepter,
Roy Ayers Ubiquity,
Altered Images,
Scratch Acid,
Mo-Dettes,
Amazonics,
Aural Exciters,
The Gories,
Deadbeat,
Donald Byrd,
Bizarre Inc.,
London Community Gospel Choir,
Lee Hazlewood,
The Cure,
Schoolly D,
Crispian St. Peters,
Masters at Work,
Q65,
X-101,
Bluetip,
Minor Threat,
Joe Smooth,
Reuben Wilson,
Frankie Knuckles,
Hardrive,
Panda Bear,
Little Man,
The Monochrome Set,
Fugazi,
AZ,
Tres Demented,
The Monks, The Monks, The Monks, The Monks.
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.