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 Senegal and from Lagos.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1973.
I'm losing my edge.
To all the kids in Cairo and Columbus.
I'm losing my edge to the art-school Madrid 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the arpeggiator 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 Gabor Szabo to the disco kids.
I played it at the Hacienda.
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 Tropical Tobacco. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Kas Product,
PIL,
Matthew Halsall,
the Germs,
Lindisfarne,
Sunsets and Hearts,
Massinfluence,
Marcia Griffiths,
The Evens,
The Invisible,
Kerrie Biddell,
48th St. Collective,
Lonnie Liston Smith,
Supertramp,
Crispy Ambulance,
Saccharine Trust,
The Techniques,
Jerry's Kids,
New Order,
Grauzone,
Minor Threat,
Brass Construction,
The Doors,
Soft Cell,
Super Lover Cee & Casanova Rud,
The Young Rascals,
Con Funk Shun,
Niagra,
Dave Gahan,
Rahsaan Roland Kirk,
Chrome,
Public Image Ltd.,
Iggy Pop,
La Düsseldorf,
The Birthday Party,
Yellowson,
Sparks,
Mandrill,
Sun City Girls,
Pharaoh Sanders and the Fire Engines,
Red Lorry Yellow Lorry,
Notorious BIG live in Amsterdam,
Nick Cave & The Bad Seeds,
Crime,
The Monks,
Glambeats Corp.,
The Count Five,
The Peanut Butter Conspiracy,
The Cure,
Jawbox,
Panda Bear,
The Pop Group,
Average White Band,
Ronan,
a-ha,
The Royal Family And The Poor,
Crash Course in Science,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.