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 Lithuania and from Madrid.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Stockholm.
I'm losing my edge to the art-school Tokyo 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 1976 at the first Feelies practice in a loft in Haledon.
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 Brass Construction to the electroclash kids.
I played it at the Astoria.
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 Kings Of Tomorrow. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Blake Baxter 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
Lower 48,
La Düsseldorf,
Minnie Riperton,
E-Dancer,
Public Enemy,
Scan 7,
Faraquet,
Eric Copeland,
JFA,
The Moody Blues,
Buzzcocks,
Sister Nancy,
Stockholm Monsters,
John Cale,
Ultimate Spinach,
Maurizio,
The Count Five,
MDC,
These Immortal Souls,
Lyres,
Ossler,
Rod Modell,
Subhumans,
The Music Machine,
Sparks,
Gichy Dan,
Nation of Ulysses,
Shuggie Otis,
The Wake,
Strawberry Alarm Clock,
Gong,
The Electric Prunes,
Los Fastidios,
The Evens,
Marine Girls,
Delta 5,
Amon Düül II,
Aswad,
Althea and Donna,
FM Einheit,
Roy Ayers Ubiquity,
Matthew Bourne,
The Techniques,
Mars,
Circle Jerks,
Beasts of Bourbon,
Crispy Ambulance,
Pharaoh Sanders and the Fire Engines,
Yaz,
Byron Stingily,
The J.B.'s,
Procol Harum,
Index,
Siouxsie and the Banshees,
Ponytail,
Roger Hodgson,
The Stooges,
Marmalade,
James Chance & The Contortions,
Gil Scott Heron,
Essential Logic,
Half Japanese,
Dark Day,
Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks, Teenage Jesus and the Jerks.
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.