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 Macedonia and from Mumbai.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Lille and Mexico City.
I'm losing my edge to the art-school Bremen 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 Bowie practice in a loft in Bromley.
I was working on the marimba 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 MC5 to the techno kids.
I played it at the Hacienda.
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 Television Personalities. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Juan Atkins,
Whodini,
Severed Heads,
Barry Ungar,
Bobby Byrd,
Mantronix,
Roger Hodgson,
The Standells,
The Vogues,
Terrestrial Tones,
Joe Smooth,
Monks,
The Beau Brummels,
Wire,
Monolake,
Moebius,
the Slits,
Robert Görl,
Jawbox,
Barrington Levy,
Shuggie Otis,
Sugar Minott,
Circle Jerks,
Camberwell Now,
the Soft Cell,
Pole,
The Moleskins,
Michelle Simonal,
Babytalk,
PIL,
Organ,
Kauko Röyhkä ja Narttu,
Public Enemy,
Bizarre Inc.,
The Doobie Brothers,
Rekid,
Peter and Kerry,
Gary Puckett & The Union Gap,
Nico,
Sticky Fingaz feat. Raekwon,
The Gun Club,
Stiv Bators,
Anthony Braxton,
Jimmy McGriff,
Amon Düül,
Pierre Henry,
Kaleidoscope,
Frankie Knuckles,
Sound Behaviour,
Bobby Hutcherson,
Crash Course in Science,
Glambeats Corp.,
Andrew Hill,
X-102,
Gang Green,
Cluster,
The Trojans,
Rhythm & Sound,
Con Funk Shun,
Notorious Big And Bone Thugs,
Morten Harket,
Radiopuhelimet,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.