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 Nauru and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Madrid and Winnipeg.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Prince Buster to the rap kids.
I played it at the Astoria.
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 The Barracudas tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
The Vogues,
Davy DMX,
Kenny Larkin,
Monks,
Cabaret Voltaire,
the Soft Cell,
8 Eyed Spy,
Boz Scaggs,
Fat Boys,
X-Ray Spex,
Agitation Free,
Jerry Gold Smith,
Kas Product,
Rhythim Is Rhythim,
Scratch Acid,
Röyhkä ja Rättö ja Lehtisalo,
Visionaries,LMNO, T- Love & Iriscience,
Man Eating Sloth,
Erasure,
The Dead C,
The Smoke,
Massinfluence,
Accadde A,
Barclay James Harvest,
Crispian St. Peters,
Gastr Del Sol,
Pharoah Sanders,
Josef K,
Kool Moe Dee,
Glambeats Corp.,
The Moleskins,
Siouxsie and the Banshees,
The American Breed,
Magazine,
The Pop Group,
Drexciya,
Marine Girls,
Teenage Jesus and the Jerks,
The Stooges,
Index,
The Young Rascals,
Sonny Sharrock,
Rod Modell,
Ossler,
Pierre Henry,
Hot Snakes,
Ash Ra Tempel,
The Barracudas,
Roy Ayers Ubiquity,
Barrington Levy,
Tears for Fears,
Ludus,
Moby Grape,
Lonnie Liston Smith,
Cecil Taylor,
The Golliwogs,
Oppenheimer Analysis,
Dark Day,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.