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 Taiwan and from Lagos.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
I'm losing my edge to the art-school Salvador 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 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 Bizarre Inc. to the funk kids.
I played it at Trash.
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 Ken Boothe. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Mr. Review 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ash Ra Tempel,
Scott Walker,
the Bar-Kays,
The Five Americans,
Black Bananas,
Ice-T,
Matthew Halsall,
Icehouse,
T.S.O.L.,
Danielle Patucci,
Vladislav Delay,
Saccharine Trust,
The Detroit Cobras,
The Stooges,
Pete Rock & C.L. Smooth,
Kango’s Stein Massive,
Shoche,
Tom Boy,
Skarface,
Peter & Gordon,
Ornette Coleman,
Amon Düül II,
The Pretty Things,
B.T. Express,
The United States of America,
ABBA,
Lucky Dragons,
Echospace,
Mark Hollis,
Animal Collective,
Tears for Fears,
The Busters,
It's A Beautiful Day,
Grandmaster Flash and the Furious Five,
Talk Talk,
The Gap Band,
The Saints,
Sun Ra Arkestra,
The Shadows of Knight,
Howard Jones,
Bob Dylan,
Lakeside,
DJ Style,
Minor Threat,
Tubeway Army,
Davy DMX,
The Real Kids,
Zapp,
Barclay James Harvest,
Roxette,
Negative Approach,
Thinking Fellers Union Local 282,
Sandy B,
One Last Wish,
Ultramagnetic MC's,
H. Thieme,
The Moody Blues,
Sarah Menescal,
Gerry Rafferty,
Juan Atkins,
Darondo,
Beasts of Bourbon,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.