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 Seychelles and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Madrid.
I'm losing my edge to the art-school Seoul 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 Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Bauhaus 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 Brass Construction. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sticky Fingaz feat. Raekwon record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Judy Mowatt,
Amazonics,
Gang Green,
La Düsseldorf,
The Smiths,
The Sound,
the Bar-Kays,
The Alarm Clocks,
Terror Squad Feat. Camron,
Isaac Hayes,
Art Ensemble Of Chicago,
Subhumans,
Super Lover Cee & Casanova Rud,
Nick Fraelich,
Agitation Free,
K-Klass,
Henry Cow,
Essential Logic,
10cc,
Saccharine Trust,
Neu!,
Jerry Gold Smith,
Lou Reed & John Cale,
Oneida,
The Human League,
Von Mondo,
L. Decosne,
Marc Almond,
John Lydon,
Black Pus,
The Selecter,
Jesper Dahlback,
Underground Resistance,
Ornette Coleman,
Zero Boys,
Electric Prunes,
Notorious Big And Bone Thugs,
Kas Product,
Magazine,
David Axelrod,
The Mojo Men,
New Age Steppers,
Smog,
Boogie Down Productions,
Orchestral Manoeuvres in the Dark,
Minutemen,
Blossom Toes,
Khruangbin,
The Buckinghams,
The Pretty Things,
Marine Girls,
This Heat,
Warsaw,
Robert Wyatt,
Absolute Body Control,
Animal Collective,
Bobby Womack,
The Music Machine,
Procol Harum,
The Standells, The Standells, The Standells, The Standells.
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.