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 Malawi and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Paris and Tokyo.
I'm losing my edge to the art-school Bologna 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 Zero Boys to the rap 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 Sonic Youth. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Neil Young 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 '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Saccharine Trust,
the Normal,
Kings Of Tomorrow,
Judy Mowatt,
Crash Course in Science,
Young Marble Giants,
Faust,
Eric Copeland,
The Invisible,
Johnny Clarke,
Larry & the Blue Notes,
Suicide,
Chrome,
Accadde A,
Black Moon,
D'Angelo,
Roxy Music,
Public Image Ltd.,
Television,
Siglo XX,
Inner City,
Tomorrow,
Letta Mbulu,
Barbara Tucker,
Roy Ayers Ubiquity,
The Motions,
Kango’s Stein Massive,
David Bowie,
Moby Grape,
Youth Brigade,
Scion,
The Monochrome Set,
Ajijia Myrayebe,
the Soft Cell,
48th St. Collective,
Patti Smith,
Yellowson,
The Fall,
Orchestral Manoeuvres in the Dark,
Eurythmics,
T.S.O.L.,
Schoolly D,
Throbbing Gristle,
James White and The Blacks,
Lyres,
New Age Steppers,
Max Romeo,
John Foxx,
The Dead C,
Curtis Mayfield,
Fear,
The Victims,
Man Parrish,
The Jesus and Mary Chain,
Oppenheimer Analysis,
Sam Rivers,
The Toasters,
James Chance & The Contortions,
Essential Logic,
Country Teasers,
Y Pants,
Kaleidoscope,
New Order, New Order, New Order, New Order.
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.