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 Gabon and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Lille and Mumbai.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Minnie Riperton to the grime 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 The Five Americans. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Main Source 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 '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Blancmange record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Lou Reed & Metallica,
Oneida,
Crispy Ambulance,
Rahsaan Roland Kirk,
Jesper Dahlback,
Sexual Harrassment,
Swans,
The Move,
Sly & The Family Stone,
The Fugs,
The Knickerbockers,
The West Coast Pop Art Experimental Band,
Jacques Brel,
Dawn Penn,
Arcadia,
Selector Dub Narcotic,
Roxy Music,
Mantronix,
Sun Ra Arkestra,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Eden Ahbez,
Aural Exciters,
Lindisfarne,
the Slits,
Roger Hodgson,
the Human League,
Matthew Halsall,
Mary Jane Girls,
Dual Sessions,
The Martian,
Jimmy McGriff,
Lightning Bolt,
Joensuu 1685,
Japan,
Pete Rock & C.L. Smooth,
Urselle,
Crooked Eye,
The Durutti Column,
Charles Mingus,
Fear,
Joy Division,
Peter and Kerry,
Deepchord,
The Remains,
The Toasters,
Thee Headcoats,
Los Fastidios,
Big Daddy Kane,
The Wake,
Max Romeo,
The Evens,
The Shadows of Knight,
John Holt,
The Divine Comedy,
Visage,
Prince Buster,
The Music Machine,
New York Dolls,
Y Pants,
Eric B and Rakim,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.