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 Kenya and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
I'm losing my edge to the art-school Bologna 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Ultimate Spinach to the electroclash 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 A Certain Ratio. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Skarface record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
Heavy D & The Boyz,
The Selecter,
Rod Modell,
The Moleskins,
Slave,
Loose Ends,
Dead Boys,
Terrestrial Tones,
Connie Case,
Max Romeo,
Kerrie Biddell,
Girls At Our Best!,
10cc,
Leonard Cohen,
Graham Central Station,
Desert Stars,
the Soft Cell,
Bob Dylan,
Andrew Hill,
John Lydon,
Warren Ellis,
Ludus,
Marcia Griffiths,
Bill Near,
Heaven 17,
Isaac Hayes,
Slick Rick,
Clear Light,
Lou Reed & Metallica,
Howard Jones,
It's A Beautiful Day,
Mo-Dettes,
Lalann,
Kayak,
De La Soul & Jungle Brothers,
Black Moon,
The Mummies,
The Young Rascals,
Altered Images,
Yellowson,
Khruangbin,
Aaron Thompson,
A Certain Ratio,
Thinking Fellers Union Local 282,
K-Klass,
Parry Music,
Sandy B,
Half Japanese,
Scott Walker + Sunn O))),
The Slits,
Negative Approach,
Lower 48,
Spandau Ballet,
Oblivians,
Soft Machine,
The Blackbyrds,
Pet Shop Boys,
The Martian,
the Fania All-Stars,
Sex Pistols,
Ronnie Foster,
Q65,
Magma, Magma, Magma, Magma.
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.