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 Swaziland and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1969 to 1970.
I'm losing my edge.
To all the kids in Salvador and Lagos.
I'm losing my edge to the art-school Spokane 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 spring reverb 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 Avey Tare's Slasher Flicks to the punk 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 Joey Negro. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Suburban Knight,
The Mighty Diamonds,
La Düsseldorf,
Yusef Lateef,
Camouflage,
Brass Construction,
Ponytail,
Scratch Acid,
Brand Nubian,
Nirvana,
The Move,
Godley & Creme,
Faraquet,
Buzzcocks,
Spoonie Gee,
Robert Hood,
Donald Byrd,
Jawbox,
Stockholm Monsters,
Kevin Saunderson,
Grandmaster Flash,
Model 500,
Minny Pops,
Kerrie Biddell,
The Selecter,
Alison Limerick,
The Cosmic Jokers,
Smog,
Erykah Badu,
Black Moon,
Sound Behaviour,
Siouxsie and the Banshees,
Lee Hazlewood,
Cymande,
David Bowie,
Yaz,
Gabor Szabo,
Soft Cell,
Susan Cadogan,
Talk Talk,
Q65,
Country Teasers,
Minutemen,
Grandmaster Flash and the Furious Five,
Kayak,
Charles Mingus,
Joey Negro,
Pere Ubu,
Peter & Gordon,
Bang on a Can All-Stars,
Ralphi Rosario,
Aswad,
Joe Smooth,
Dual Sessions,
Bang On A Can,
The Slits,
The Cramps,
Television,
Whodini,
The Music Machine,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.