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 Namibia and from New York.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1974.
I'm losing my edge.
To all the kids in Taipei and Salvador.
I'm losing my edge to the art-school London 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 snare 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 The Five Americans to the electroclash 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 Skarface. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Raincoats record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
Organ,
Infiniti,
The Buckinghams,
Interpol,
The Invisible,
Mark Hollis,
London Community Gospel Choir,
Sad Lovers and Giants,
Audionom,
Easy Going,
The Real Kids,
The Sound,
The Beau Brummels,
Patti Smith,
Basic Channel,
Swell Maps,
The Golliwogs,
Fifty Foot Hose,
Saccharine Trust,
Unrelated Segments,
Kevin Saunderson,
The Gap Band,
The Barracudas,
Bob Dylan,
A Flock of Seagulls,
The Doors,
Drive Like Jehu,
Gichy Dan,
Visionaries,LMNO, T- Love & Iriscience,
China Crisis,
Lakeside,
Orchestral Manoeuvres in the Dark,
Magma,
Derrick Morgan,
The Black Dice,
Jawbox,
Ash Ra Tempel,
Peter Gordon & Love of Life Orchestra,
Super Lover Cee & Casanova Rud,
Pole,
Jesper Dahlback,
Soft Machine,
Roy Ayers,
Aswad,
Juan Atkins,
Fluxion,
Hoover,
Al Stewart,
the Bar-Kays,
Hot Snakes,
Pantytec,
Pussy Galore,
Shoche,
Quadrant,
Kaleidoscope,
Nik Kershaw,
Kerri Chandler,
Thee Headcoats,
La Düsseldorf,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.