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 United Kingdom and from Milan.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Mexico City.
I'm losing my edge to the art-school Mexico City 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 mellotron 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 Alton Ellis to the punk kids.
I played it at the Troubador.
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 Dual Sessions. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Eddi Front,
Ronnie Foster,
Nirvana,
K-Klass,
Sixth Finger,
Cal Tjader,
Skaos,
James Chance & The Contortions,
Roxy Music,
U.S. Maple,
Carl Craig,
Popol Vuh,
Minnie Riperton,
Flamin' Groovies,
Tubeway Army,
Rakim,
Tears for Fears,
Basic Channel,
Nik Kershaw,
Kings Of Tomorrow,
Skarface,
Japan,
Smog,
Suburban Knight,
David Bowie,
Jerry's Kids,
the Fania All-Stars,
Pussy Galore,
Von Mondo,
Neu!,
Pantaleimon,
Clear Light,
The American Breed,
The Offenders,
The Cramps,
Parry Music,
Wally Richardson,
EPMD,
Faraquet,
Black Bananas,
Sonny Sharrock,
Hot Snakes,
Stetsasonic,
Pylon,
Thompson Twins,
the Germs,
A Certain Ratio,
Liaisons Dangereuses,
T.S.O.L.,
Godley & Creme,
Davy DMX,
New Age Steppers,
Ludus,
Pulsallama,
Bill Wells,
Iggy Pop,
H. Thieme,
Eric B and Rakim,
Dennis Brown,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.