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 Costa Rica 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 1963 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Copenhagen.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the synthesizer 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 Chrome to the disco kids.
I played it at the Roxy.
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 Eve St. Jones. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every Skaos record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Robert Görl,
the Bar-Kays,
The Last Poets,
Derrick May,
Ronan,
Gil Scott-Heron and Jamie xx,
the Germs,
The Moody Blues,
Rhythm & Sound,
The Sound,
The Associates,
Black Pus,
John Holt,
The Searchers,
Deepchord,
Roger Hodgson,
Sex Pistols,
H. Thieme,
Black Sheep,
Sam Rivers,
The Tremeloes,
Isaac Hayes,
Zapp,
Arcadia,
Aswad,
Eden Ahbez,
The Raincoats,
Piero Umiliani,
AZ,
Beasts of Bourbon,
Nico,
Eve St. Jones,
Connie Case,
Robert Hood,
New York Dolls,
Pylon,
Girls At Our Best!,
Todd Terry,
Thinking Fellers Union Local 282,
Glambeats Corp.,
June Days,
Wings,
Rhythim Is Rhythim,
The Doobie Brothers,
The Kinks,
Nils Olav,
The Men They Couldn't Hang,
Sly & The Family Stone,
Shuggie Otis,
La Düsseldorf,
Mantronix,
Dawn Penn,
The Beau Brummels,
PIL,
Wasted Youth,
The New Christs,
Johnny Osbourne,
Audionom,
Angels of Light & Akron/Family,
Pussy Galore,
Groovy Waters,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.