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 Marshall Islands and from Toronto.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Tehran and Salvador.
I'm losing my edge to the art-school Shanghai 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 Josef K practice in a loft in Edinburgh.
I was working on the marimba 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 Piero Umiliani to the techno kids.
I played it at Cafe Wha.
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 Sister Nancy. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Throbbing Gristle record on German import.
I heard that you have a white label of every seminal rap 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
The Gap Band,
David Bowie,
Gary Puckett & The Union Gap,
Quando Quango,
Gil Scott Heron,
The Victims,
Essential Logic,
Stockholm Monsters,
Nik Kershaw,
X-102,
Stetsasonic,
Johnny Osbourne,
The Durutti Column,
Notorious BIG live in Amsterdam,
Can,
Flash Fearless,
Bill Near,
Public Enemy,
Super Lover Cee & Casanova Rud,
Cymande,
Matthew Bourne,
Harmonia,
Manfred Mann's Earth Band,
T.S.O.L.,
In Retrospect,
Alton Ellis,
Organ,
Buzzcocks,
Chris Corsano,
Robert Hood,
Ossler,
The Searchers,
Zapp,
Negative Approach,
Moebius,
Pylon,
Dead Boys,
Barrington Levy,
The Dave Clark Five,
Magma,
Lyres,
This Heat,
Marshall Jefferson,
Khruangbin,
Scion,
Larry & the Blue Notes,
Susan Cadogan,
Lonnie Liston Smith,
One Last Wish,
Fugazi,
The Selecter,
Scratch Acid,
Patti Smith,
Wire,
Janne Schatter,
Tropical Tobacco,
Lungfish,
Black Pus,
Bobbi Humphrey,
The Fuzztones,
the Association, the Association, the Association, the Association.
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.