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 Malawi and from Beijing.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Accra and Delhi.
I'm losing my edge to the art-school Bremen 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 Michael McDonald 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 Piero Umiliani to the disco 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 Arcadia. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every Minny Pops record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
A Certain Ratio,
Soft Machine,
Gong,
Surgeon,
Half Japanese,
The Index,
Ronan,
Sight & Sound,
New York Dolls,
Roxette,
Excepter,
Model 500,
R.M.O.,
Little Man,
The Doobie Brothers,
The Sisters of Mercy,
Derrick May,
Ice-T,
Jeff Mills,
Kings Of Tomorrow,
Subhumans,
China Crisis,
Pere Ubu,
Slick Rick,
Tim Buckley,
The Cowsills,
Cameo,
Mantronix,
The Cosmic Jokers,
Glenn Branca,
Moby Grape,
Lizzy Mercier Descloux,
Lungfish,
Traffic Nightmare,
the Swans,
Unrelated Segments,
Tears for Fears,
MDC,
Bootsy's Rubber Band,
Porter Ricks,
Lou Christie,
Pierre Henry,
Grandmaster Flash and the Furious Five,
Livin' Joy,
Gian Franco Pienzio,
Michelle Simonal,
L. Decosne,
Marc Almond,
Althea and Donna,
Beasts of Bourbon,
June Days,
Chris & Cosey,
Man Eating Sloth,
The Pop Group,
The Saints,
Eden Ahbez,
Matthew Halsall,
The Young Rascals,
The Red Krayola,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.