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 Madagascar and from Johannesburg.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Winnipeg 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the marimba sounds with much patience.
I was there when Tom Verlaine 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 Alison Limerick to the techno kids.
I played it at the Roxy.
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 Q and Not U. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Arthur Verocai 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 snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Arab on Radar,
Bronski Beat,
The Moody Blues,
The Shadows of Knight,
Zapp,
Echospace,
Main Source,
Nico,
Black Flag,
Ronan,
Bush Tetras,
Altered Images,
Ken Boothe,
Mad Mike,
Rod Modell,
Scratch Acid,
Sly & The Family Stone,
Eyeless In Gaza,
Selector Dub Narcotic,
Severed Heads,
John Coltrane,
The Velvet Underground,
Joe Smooth,
Tomorrow,
Sarah Menescal,
The Young Rascals,
Bad Manners,
Barbara Tucker,
The Leaves,
Arcadia,
Accadde A,
Super Lover Cee & Casanova Rud,
The Royal Family And The Poor,
June Days,
The Zeros,
Brothers Johnson,
Sugar Minott,
Motorama,
Barclay James Harvest,
The Angels of Light,
Deepchord,
The Star Department,
DNA,
The Selecter,
OOIOO,
Junior Murvin,
Audionom,
Cecil Taylor,
Pole,
The Music Machine,
Roger Hodgson,
Scott Walker,
Ornette Coleman,
Kurtis Blow,
Mo-Dettes,
The Human League,
Wasted Youth,
Hasil Adkins,
Gary Puckett & The Union Gap,
The Kinks, The Kinks, The Kinks, The Kinks.
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.