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 Uganda and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Edmonton and Stockholm.
I'm losing my edge to the art-school Glasgow 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 snare 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 Gregory Isaacs to the dance kids.
I played it at the Crocodile.
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 Andrew Hill. All the underground hits.
All Visage tracks. I heard you have a vinyl of every 10cc 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Make Up,
Lightning Bolt,
Soft Machine,
The Fortunes,
Cal Tjader,
The Cramps,
Metal Thangz,
Johnny Osbourne,
Second Layer,
Little Man,
Technova,
Lalann,
The Blackbyrds,
The Toasters,
The Peanut Butter Conspiracy,
Lucky Dragons,
Iggy Pop,
Gabor Szabo,
The Fall,
Loose Ends,
Gang Green,
The Selecter,
Liaisons Dangereuses,
Gerry Rafferty,
Symarip,
Soulsonic Force,
Kango’s Stein Massive,
Rufus Thomas,
The Litter,
Agitation Free,
The Last Poets,
The American Breed,
Flash Fearless,
Negative Approach,
Quadrant,
Depeche Mode,
Kevin Saunderson,
Nas,
Country Joe & The Fish,
Yellowson,
Accadde A,
Scion,
Ituana,
Charles Mingus,
Ice-T,
Brothers Johnson,
Lalo Schifrin,
Sister Nancy,
Can,
Mo-Dettes,
Terrestrial Tones,
Bad Manners,
Minny Pops,
John Lydon,
Bobby Hutcherson,
The Doobie Brothers,
Mars,
Thompson Twins,
Stiv Bators,
UT,
New Order,
Louis and Bebe Barron,
Bobbi Humphrey,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.