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 Uzbekistan and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord 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 Smog to the rap kids.
I played it at the Troubador.
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 Derrick May. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Bill Wells 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Fuzztones record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barbara Tucker,
Oppenheimer Analysis,
Animal Collective,
The Blackbyrds,
The Knickerbockers,
Maleditus Sound,
Rapeman,
Drive Like Jehu,
Kevin Saunderson,
The Gladiators,
Ronnie Foster,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Stooges,
Bill Wells,
Mars,
The Dirtbombs,
Altered Images,
Harry Pussy,
Ohio Players,
Roger Hodgson,
Avey Tare & Kría Brekkan,
Goldenarms,
Wings,
Don Cherry,
China Crisis,
Dorothy Ashby,
Jerry's Kids,
Kerri Chandler,
Fela Kuti,
The Pop Group,
The Golliwogs,
Cameo,
Public Enemy,
The Count Five,
The Cosmic Jokers,
the Human League,
Chris & Cosey,
Sonny Sharrock,
John Coltrane,
Fad Gadget,
Outsiders,
Bobby Hutcherson,
Vainqueur,
David McCallum,
Clear Light,
Soul Sonic Force,
Technova,
Alison Limerick,
Qualms,
Neil Young & Crazy Horse,
Negative Approach,
The Monks,
PIL,
Joensuu 1685,
Chrome,
Pulsallama,
Visage,
Man Parrish,
Robert Hood,
Robert Görl,
Brick,
Joyce Sims,
Anakelly, Anakelly, Anakelly, Anakelly.
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.