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 Australia and from Manila.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Manila and Lagos.
I'm losing my edge to the art-school Shanghai 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Reuben Wilson to the disco kids.
I played it at the Spitz.
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 Donald Byrd. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal rock 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 an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Easy Going,
The Red Krayola,
Cluster,
Nik Kershaw,
A Certain Ratio,
Minor Threat,
The Blackbyrds,
Echo & the Bunnymen,
Monks,
The Trojans,
Terry Callier,
Manfred Mann's Earth Band,
The Music Machine,
Dawn Penn,
James Chance & The Contortions,
The Doobie Brothers,
Accadde A,
Cabaret Voltaire,
Nico,
Henry Cow,
Vladislav Delay,
Connie Case,
Anakelly,
Unrelated Segments,
The Detroit Cobras,
Monolake,
The Buckinghams,
Barrington Levy,
Avey Tare's Slasher Flicks,
Fluxion,
Malaria!,
Maleditus Sound,
Sun City Girls,
New Age Steppers,
Rufus Thomas,
Franke,
Bill Near,
Shuggie Otis,
Robert Wyatt,
Junior Murvin,
Anthony Braxton,
Glambeats Corp.,
Half Japanese,
Bobby Hutcherson,
Marvin Gaye,
The Victims,
Jeff Lynne,
The Index,
Marc Almond,
Brass Construction,
L. Decosne,
Lakeside,
The Divine Comedy,
Ultimate Spinach,
Nation of Ulysses,
Buzzcocks,
Ornette Coleman,
David Bowie,
The Royal Family And The Poor,
Desert Stars,
The Angels of Light,
The Sound, The Sound, The Sound, The Sound.
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.