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 Congo and from Milan.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Calgary.
I'm losing my edge to the art-school Lyon 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Fania All-Stars to the techno 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 Manfred Mann's Earth Band. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every The Mummies 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Fela Kuti,
Zero Boys,
World's Most,
June Days,
Kevin Saunderson,
Quantec,
Warren Ellis,
Cluster,
Patti Smith,
MC5,
FM Einheit,
Peter Gordon & Love of Life Orchestra,
Deutsch Amerikanische Freundschaft,
Rhythim Is Rhythim,
Delta 5,
Be Bop Deluxe,
The Evens,
Trumans Water,
Fort Wilson Riot,
Faraquet,
Alice Coltrane,
Marc Romboy vs. Booka Shade,
U.S. Maple,
Jerry Gold Smith,
The Flesh Eaters,
Neil Young & Crazy Horse,
Jerry's Kids,
Pole,
Gary Puckett & The Union Gap,
Bobbi Humphrey,
Tom Boy,
the Swans,
Bizarre Inc.,
Massinfluence,
The Seeds,
The Leaves,
Ohio Players,
The Last Poets,
The Shadows of Knight,
E-Dancer,
Japan,
John Lydon,
Rapeman,
Circle Jerks,
the Soft Cell,
Easy Going,
Amazonics,
Duran Duran,
Ronnie Foster,
Theoretical Girls,
X-Ray Spex,
Eden Ahbez,
The Blackbyrds,
Marmalade,
Kango’s Stein Massive,
Pierre Henry,
The Golliwogs,
Piero Umiliani,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.