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 Tanzania and from Taipei.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Beijing and Bologna.
I'm losing my edge to the art-school Edmonton 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 snare 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 Gabor Szabo to the dance 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 Throbbing Gristle. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every The Dead C 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 '70s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
The Fugs,
Sarah Menescal,
Gregory Isaacs,
June of 44,
Monks,
Panda Bear,
Siglo XX,
Fela Kuti,
Minutemen,
Crime,
Janne Schatter,
James Chance & The Contortions,
The New Christs,
Rhythim Is Rhythim,
The Neon Judgement,
Electric Prunes,
Lakeside,
Pere Ubu,
The Techniques,
Nick Fraelich,
Albert Ayler,
Prince Buster,
Lou Reed & John Cale,
Faraquet,
Terry Callier,
Lindisfarne,
PIL,
Ponytail,
Kayak,
K-Klass,
Ken Boothe,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Excepter,
Radiopuhelimet,
Shuggie Otis,
Deepchord,
Pierre Henry,
Judy Mowatt,
Fort Wilson Riot,
the Fania All-Stars,
Susan Cadogan,
Gabor Szabo,
Spandau Ballet,
Sight & Sound,
Half Japanese,
Barry Ungar,
Faust,
Joe Finger,
Kauko Röyhkä ja Narttu,
Kaleidoscope,
The United States of America,
Rahsaan Roland Kirk,
New York Dolls,
The Litter,
Jacob Miller,
The Slackers,
Junior Murvin,
The Durutti Column,
Althea and Donna,
Donny Hathaway,
Slick Rick,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.