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 Ethiopia and from Columbus.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Spokane and Toronto.
I'm losing my edge to the art-school Hong Kong 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 chamberlin sounds with much patience.
I was there when David Bowie 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 DJ Style to the electroclash kids.
I played it at the Roxy.
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 John Holt. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Susan Cadogan,
Ken Boothe,
Fela Kuti,
Moby Grape,
Peter Gordon & Love of Life Orchestra,
Jerry Gold Smith,
Heavy D & The Boyz,
Talk Talk,
Barclay James Harvest,
The Jesus and Mary Chain,
Agitation Free,
The Misunderstood,
Symarip,
The Wake,
Gang Green,
Alton Ellis,
Mark Hollis,
The Music Machine,
Matthew Bourne,
Nick Fraelich,
Traffic Nightmare,
Bill Near,
Bush Tetras,
Blossom Toes,
Bobby Sherman,
The Beau Brummels,
Yusef Lateef,
Kauko Röyhkä ja Narttu,
Faust,
Swell Maps,
Howard Jones,
Roxy Music,
Black Sheep,
The Sound,
Sun Ra,
Franke,
Nas,
Gong,
Bobby Byrd,
Fluxion,
Bauhaus,
John Coltrane,
Eddi Front,
London Community Gospel Choir,
Grey Daturas,
The Young Rascals,
Sly & The Family Stone,
Marc Almond,
David McCallum,
KRS-One,
Sällskapet,
Gichy Dan,
Pantaleimon,
Pierre Henry,
Red Lorry Yellow Lorry,
Parry Music,
The Fugs,
Davy DMX,
Sonny Sharrock,
Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth, Pete Rock & C.L. Smooth.
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.