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 Somalia and from Bremen.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Lille and Salvador.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 Gary Puckett & The Union Gap to the grunge 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 T. Rex. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal punk 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 snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Gregory Isaacs,
Grey Daturas,
Radiohead,
The Cure,
The Alarm Clocks,
Kenny Larkin,
Red Lorry Yellow Lorry,
Aswad,
The Shadows of Knight,
the Fania All-Stars,
Oneida,
Al Stewart,
Grandmaster Flash and the Furious Five,
Tres Demented,
The Saints,
Q and Not U,
Junior Murvin,
The Monks,
Iggy Pop,
Fela Kuti,
Lou Christie,
Scratch Acid,
Porter Ricks,
Television,
Teenage Jesus and the Jerks,
Brass Construction,
Radiopuhelimet,
Liliput,
The Fire Engines,
Can,
Donald Byrd,
London Community Gospel Choir,
Malaria!,
Fort Wilson Riot,
The Durutti Column,
Zapp,
Cymande,
The Move,
The Raincoats,
Kango’s Stein Massive,
De La Soul & Jungle Brothers,
Morten Harket,
Second Layer,
Inner City,
MDC,
John Holt,
Gil Scott-Heron & Brian Jackson,
Erasure,
The Stooges,
Boz Scaggs,
Pantytec,
Desert Stars,
Vaughan Mason & Crew,
Pantaleimon,
Darondo,
A Flock of Seagulls,
Sällskapet,
Jerry Gold Smith,
Sonny Sharrock,
Yellowson,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.