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 Fiji and from Stockholm.
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 1976.
I'm losing my edge.
To all the kids in Halifax and Seoul.
I'm losing my edge to the art-school Copenhagen 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 organ 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 Roxette to the disco kids.
I played it at the 40 Watt.
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 Gang Green. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam 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 '70s cut and another box set from the '80s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Unrelated Segments record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Rhythm & Sound,
Scrapy,
CMW,
Big Daddy Kane,
Beasts of Bourbon,
Cymande,
The Grass Roots,
Ultravox,
Erykah Badu,
Darondo,
Rhythim Is Rhythim,
Ronnie Foster,
Cameo,
New York Dolls,
Hasil Adkins,
John Coltrane,
Hashim,
Gary Puckett & The Union Gap,
Funky Four + One,
Sister Nancy,
Chris Corsano,
Gil Scott-Heron & Brian Jackson,
Warsaw,
Crispy Ambulance,
The American Breed,
James Chance & The Contortions,
Robert Görl,
Severed Heads,
JFA,
Bluetip,
Absolute Body Control,
Quadrant,
Nation of Ulysses,
X-Ray Spex,
Vainqueur,
World's Most,
Albert Ayler,
Sound Behaviour,
Marvin Gaye,
10cc,
Davy DMX,
Metal Thangz,
Joe Smooth,
Qualms,
Buzzcocks,
Scion,
The Beau Brummels,
Angry Samoans,
Grandmaster Flash,
The J.B.'s,
Terry Callier,
Traffic Nightmare,
Shoche,
Nick Fraelich,
Little Man,
Agent Orange,
DJ Style,
The Blackbyrds,
The Angels of Light,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.