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 Marshall Islands and from Glasgow.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1977.
I'm losing my edge.
To all the kids in Madrid and London.
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 marimba sounds with much patience.
I was there when Robert Palmer 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 Jeff Mills to the rap 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 Underground Resistance. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every FM Einheit 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Theoretical Girls,
Leonard Cohen,
Donny Hathaway,
Japan,
Dawn Penn,
The Evens,
Kurtis Blow,
Pharoah Sanders,
Marmalade,
The Dirtbombs,
Rod Modell,
Deutsch Amerikanische Freundschaft,
Aloha Tigers,
Ajijia Myrayebe,
T.S.O.L.,
Section 25,
Stockholm Monsters,
The Gun Club,
The Divine Comedy,
The Trojans,
Sam Rivers,
Minutemen,
Lucky Dragons,
Dual Sessions,
Lizzy Mercier Descloux,
Ituana,
Das Ding,
Cybotron,
Vladislav Delay,
The Sisters of Mercy,
Lonnie Liston Smith,
The Fortunes,
Susan Cadogan,
Eddi Front,
Ken Boothe,
Davy DMX,
Index,
Dorothy Ashby,
Little Man,
Circle Jerks,
The Searchers,
Rekid,
Fluxion,
Minnie Riperton,
Second Layer,
Sugar Minott,
The Gap Band,
Tubeway Army,
Wasted Youth,
Gichy Dan,
The Detroit Cobras,
Godley & Creme,
It's A Beautiful Day,
Grandmaster Flash,
Joy Division,
The Count Five,
Heavy D & The Boyz,
Ralphi Rosario,
Peter & Gordon,
Howard Jones,
Can,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.