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 Papua New Guinea and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1972.
I'm losing my edge.
To all the kids in Lille and Hong Kong.
I'm losing my edge to the art-school Mexico City 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 synthesizer 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 Hasil Adkins to the funk kids.
I played it at the Hacienda.
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 The Peanut Butter Conspiracy. All the underground hits.
All The Blackbyrds tracks. I heard you have a vinyl of every Peter & Gordon 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Alton Ellis record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nation of Ulysses,
The Misunderstood,
T. Rex,
The Invisible,
the Normal,
Deepchord,
Spoonie Gee,
Yaz,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Thee Headcoats,
Bizarre Inc.,
Robert Görl,
Yazoo,
Sad Lovers and Giants,
John Holt,
Tommy Roe,
Sonny Sharrock,
Con Funk Shun,
James Chance & The Contortions,
Kas Product,
Young Marble Giants,
Max Romeo,
Andrew Ashong & Theo Parrish,
Siouxsie and the Banshees,
Saccharine Trust,
Aswad,
Jacques Brel,
The Blackbyrds,
The Real Kids,
Ajijia Myrayebe,
Technova,
These Immortal Souls,
Lungfish,
Au Pairs,
Drive Like Jehu,
John Coltrane,
Josef K,
The Velvet Underground,
Ultimate Spinach,
The Smoke,
T.S.O.L.,
Tom Boy,
Scion,
Grandmaster Flash and the Furious Five,
FM Einheit,
Louis and Bebe Barron,
Depeche Mode,
Jeff Mills,
Electric Prunes,
Urselle,
Anthony Braxton,
Rakim,
Bluetip,
Bronski Beat,
Interpol,
Aural Exciters,
Babytalk,
The Monks,
Liliput,
The Seeds,
The Saints,
Second Layer,
Surgeon, Surgeon, Surgeon, Surgeon.
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.