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 Poland and from Mexico City.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Bologna and Manchester.
I'm losing my edge to the art-school Cairo 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 sitar 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 The Alarm Clocks to the funk kids.
I played it at the Spitz.
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 David McCallum. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel 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?
Big Daddy Kane,
Rekid,
Tom Boy,
Roxy Music,
Bush Tetras,
Oppenheimer Analysis,
Bootsy Collins,
Soulsonic Force,
Qualms,
Siouxsie and the Banshees,
Aural Exciters,
Gang Green,
The Detroit Cobras,
Babytalk,
The Electric Prunes,
Howard Jones,
Ash Ra Tempel,
Ralphi Rosario,
Zapp,
Robert Görl,
Bill Near,
Mark Hollis,
David Bowie,
Terry Callier,
Letta Mbulu,
Joy Division,
The Sisters of Mercy,
The Gladiators,
Kaleidoscope,
JFA,
The Leaves,
Siglo XX,
L. Decosne,
Amon Düül,
Unrelated Segments,
Marc Almond,
Jandek,
Grandmaster Flash,
Minnie Riperton,
The Last Poets,
Flamin' Groovies,
MDC,
Delon & Dalcan,
Bizarre Inc.,
The Associates,
Stockholm Monsters,
Marvin Gaye,
X-102,
The Slackers,
London Community Gospel Choir,
The Busters,
Scan 7,
Newcleus,
Gregory Isaacs,
Sex Pistols,
Mary Jane Girls,
The Sound,
Electric Light Orchestra,
The Skatalites,
Dennis Brown,
Soft Machine,
The American Breed, The American Breed, The American Breed, The American Breed.
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.