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 Bulgaria and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Delhi and Lyon.
I'm losing my edge to the art-school Jakarta 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Maleditus Sound to the funk 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 Golliwogs. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal techno 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 rhodes and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
Reuben Wilson,
Malaria!,
Ten City,
New York Dolls,
Crispy Ambulance,
Babytalk,
Roxette,
Gang Green,
Gang Gang Dance,
T. Rex,
Brick,
Judy Mowatt,
Harry Pussy,
PIL,
Public Enemy,
Lakeside,
Delta 5,
T.S.O.L.,
Gregory Isaacs,
Gerry Rafferty,
Marmalade,
Faust,
Archie Shepp,
Funkadelic,
James Chance & The Contortions,
Radiopuhelimet,
Isaac Hayes,
The Human League,
Sound Behaviour,
Mandrill,
Television Personalities,
Marc Almond,
Rosa Yemen,
Cybotron,
Jerry Gold Smith,
The West Coast Pop Art Experimental Band,
Johnny Osbourne,
Schoolly D,
Wire,
New Age Steppers,
Gil Scott-Heron & Brian Jackson,
Black Pus,
Soft Cell,
The Black Dice,
Anthony Braxton,
Sly & The Family Stone,
The Slits,
Stiv Bators,
The Alarm Clocks,
the Human League,
Art Ensemble Of Chicago,
Eli Mardock,
Minutemen,
Gary Puckett & The Union Gap,
Bob Dylan,
Wasted Youth,
Country Teasers,
Second Layer,
John Foxx,
Saccharine Trust,
Drive Like Jehu,
Josef K,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.