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 Spain and from Taipei.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
I'm losing my edge to the art-school Halifax 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 synthesizer 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 Man Parrish to the grunge kids.
I played it at the Troubador.
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 Kevin Saunderson. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every The Doors 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 '90s.
I hear you're buying a marimba and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
Liliput,
Joyce Sims,
Camberwell Now,
Mars,
Electric Prunes,
Smog,
Swell Maps,
Flipper,
The Zeros,
Alison Limerick,
Deutsch Amerikanische Freundschaft,
Kings Of Tomorrow,
Minny Pops,
H. Thieme,
Richard Hell and the Voidoids,
It's A Beautiful Day,
Shoche,
Hashim,
CMW,
London Community Gospel Choir,
Pole,
Mr. Review,
Rakim,
E-Dancer,
The Red Krayola,
Mission of Burma,
Silicon Teens,
Intrusion,
the Germs,
UT,
Donny Hathaway,
Wasted Youth,
Scan 7,
Howard Jones,
Excepter,
Toni Rubio,
Jimmy McGriff,
Altered Images,
The Happenings,
Bobbi Humphrey,
Main Source,
The Associates,
Blancmange,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Gun Club,
Quadrant,
Dawn Penn,
The Fortunes,
Jacques Brel,
Scrapy,
Amon Düül,
Major Organ And The Adding Machine,
Kayak,
Big Daddy Kane,
The Litter,
Mary Jane Girls,
Roxy Music,
Iggy Pop,
FM Einheit,
Lightning Bolt,
Con Funk Shun,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.