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 Guinea-Bissau and from Spokane.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Bologna.
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 chamberlin 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 Suburban Knight to the rap 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 The Walker Brothers. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every June Days 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yazoo,
The Golliwogs,
Erasure,
kango's stein massive,
Joyce Sims,
Avey Tare,
Warsaw,
B.T. Express,
Avey Tare & Kría Brekkan,
Deadbeat,
Parry Music,
The Gories,
Slick Rick,
Fatback Band,
Hasil Adkins,
The Associates,
Gian Franco Pienzio,
Deepchord,
Man Parrish,
The Mojo Men,
DeepChord presents Echospace,
Glambeats Corp.,
Boz Scaggs,
Interpol,
KRS-One,
Thee Headcoats,
Jerry's Kids,
Lower 48,
Röyhkä ja Rättö ja Lehtisalo,
Average White Band,
Hoover,
CMW,
Jerry Gold Smith,
Lonnie Liston Smith,
Patti Smith,
Hashim,
the Fania All-Stars,
Bootsy Collins,
World's Most,
Theoretical Girls,
Reuben Wilson,
Underground Resistance,
Harmonia,
The Electric Prunes,
Unrelated Segments,
Tomorrow,
Technova,
The Modern Lovers,
Warren Ellis,
The Leaves,
Justin Hinds & The Dominoes,
Maleditus Sound,
Gichy Dan,
Captain Beefheart & His Magic Band,
Selector Dub Narcotic,
Wally Richardson,
Surgeon,
Big Daddy Kane,
Scratch Acid,
Scrapy,
Roy Ayers Ubiquity,
the Slits, the Slits, the Slits, the Slits.
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.