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 Uganda and from Madrid.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Delhi and Milan.
I'm losing my edge to the art-school Glasgow 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 808 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 London Community Gospel Choir to the funk 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 Hardrive. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every F. McDonald record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
a-ha,
DeepChord presents Echospace,
Dawn Penn,
Minny Pops,
Pole,
Gian Franco Pienzio,
Andrew Ashong & Theo Parrish,
John Foxx,
Terrestrial Tones,
UT,
Cameo,
Kas Product,
Byron Stingily,
Public Enemy,
Johnny Osbourne,
Janne Schatter,
Althea and Donna,
David Axelrod,
PIL,
Robert Görl,
Section 25,
Max Romeo,
Oblivians,
Chris Corsano,
Bizarre Inc.,
D'Angelo,
Joe Smooth,
The Dead C,
Yazoo,
Chrome,
Lalann,
Funky Four + One,
Jawbox,
Ken Boothe,
June of 44,
Louis and Bebe Barron,
Stetsasonic,
The Beau Brummels,
Avey Tare,
Arcadia,
Pulsallama,
H. Thieme,
Bronski Beat,
Saccharine Trust,
Wally Richardson,
Desert Stars,
Captain Beefheart & His Magic Band,
Mad Mike,
Röyhkä ja Rättö ja Lehtisalo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fela Kuti,
The Doobie Brothers,
New York Dolls,
The Trojans,
Wings,
Lou Reed,
U.S. Maple,
Idris Muhammad,
Khruangbin,
Cluster,
Eyeless In Gaza,
Connie Case,
Dave Gahan,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.