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 Madagascar and from Bremen.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
I'm losing my edge to the art-school Houston 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 David Axelrod to the rap kids.
I played it at the Astoria.
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 Warsaw. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Dark Day 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 '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Young Marble Giants,
Nils Olav,
The Young Rascals,
Todd Terry,
Rhythim Is Rhythim,
Mantronix,
Gastr Del Sol,
Roxette,
Brass Construction,
Sly & The Family Stone,
The Sonics,
Scratch Acid,
Scrapy,
The Happenings,
Avey Tare,
Major Organ And The Adding Machine,
Lyres,
The Neon Judgement,
Metal Thangz,
Ultramagnetic MC's,
Ten City,
Stiv Bators,
The Chocolate Watch Band,
X-102,
David McCallum,
U.S. Maple,
Ponytail,
Zero Boys,
Roy Ayers Ubiquity,
Cameo,
Derrick May,
Camouflage,
Flash Fearless,
Camron Feat. Memphis Bleek And Beenie Seigel,
Boogie Down Productions,
James White and The Blacks,
Goldenarms,
ABC,
The Black Dice,
Buzzcocks,
Scott Walker + Sunn O))),
T.S.O.L.,
Newcleus,
L. Decosne,
Althea and Donna,
Johnny Osbourne,
The Music Machine,
Louis and Bebe Barron,
The Wake,
Bang On A Can,
48th St. Collective,
The Moody Blues,
Kango’s Stein Massive,
Peter Gordon & Love of Life Orchestra,
Jacques Brel,
Aswad,
Pere Ubu,
Sex Pistols,
Max Romeo,
Depeche Mode,
The West Coast Pop Art Experimental Band,
Tres Demented,
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.