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 Bangladesh and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Spokane and Edmonton.
I'm losing my edge to the art-school Milan 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 H. Thieme to the techno 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 Robert Görl. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Toni Rubio 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 '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Stooges record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
the Fania All-Stars,
Banda Bassotti,
Desert Stars,
Faraquet,
The Black Dice,
John Coltrane,
Anakelly,
Man Parrish,
The Monochrome Set,
Harmonia,
PIL,
These Immortal Souls,
Delta 5,
MDC,
Technova,
Jesper Dahlbäck,
Crime,
The Chocolate Watch Band,
Electric Prunes,
The Residents,
Qualms,
Flipper,
U.S. Maple,
Eurythmics,
Ronnie Foster,
Delon & Dalcan,
Aswad,
Throbbing Gristle,
Tomorrow,
Lalo Schifrin,
Khruangbin,
Gerry Rafferty,
Gil Scott-Heron & Brian Jackson,
Guru Guru,
World's Most,
Wings,
Nils Olav,
Amon Düül,
Joey Negro,
Angry Samoans,
Babytalk,
Fatback Band,
Archie Shepp,
Lebanon Hanover,
Gil Scott-Heron and Jamie xx,
the Germs,
Ten City,
Harpers Bizarre,
Swans,
Notorious BIG live in Amsterdam,
Freddie Wadling,
The Dave Clark Five,
Blossom Toes,
Adolescents,
Bauhaus,
Aaron Thompson,
Warren Ellis,
Red Lorry Yellow Lorry,
the Normal,
The Cramps,
The Pop Group,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.