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 Barbados and from Philadelphia.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Taipei 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 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 Fad Gadget to the grunge kids.
I played it at Trash.
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 Scan 7. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Iggy Pop record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Mad Mike,
Oblivians,
Roger Hodgson,
The Move,
Matthew Halsall,
Suburban Knight,
Soft Machine,
Dorothy Ashby,
Visage,
Electric Light Orchestra,
World's Most,
Alton Ellis,
Boredoms,
The Martian,
Underground Resistance,
The J.B.'s,
Blossom Toes,
Pete Rock & C.L. Smooth,
Marine Girls,
Pantaleimon,
Pet Shop Boys,
Suicide,
Dark Day,
Mr. Review,
Yazoo,
The Motions,
Ludus,
Shoche,
Sällskapet,
Section 25,
Notorious Big And Bone Thugs,
Jawbox,
Lebanon Hanover,
the Association,
The Men They Couldn't Hang,
Los Fastidios,
Susan Cadogan,
Black Pus,
The Blues Magoos,
Schoolly D,
Jeff Mills,
The Slackers,
James Chance & The Contortions,
KRS-One,
X-Ray Spex,
Adolescents,
Idris Muhammad,
Andrew Hill,
Nation of Ulysses,
Avey Tare,
The Wake,
F. McDonald,
Audionom,
Essential Logic,
Neil Young,
The Moleskins,
This Heat,
Cluster,
Kango’s Stein Massive,
Flash Fearless,
Sister Nancy,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.