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 Niger and from Spokane.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Calgary.
I'm losing my edge to the art-school Philadelphia 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 The Moleskins to the rap 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 The Last Poets. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Tim Buckley record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Man Parrish,
Harry Pussy,
Kango’s Stein Massive,
Bush Tetras,
La Düsseldorf,
The Misunderstood,
Nation of Ulysses,
Ohio Players,
Blossom Toes,
Rowland S Howard / Lydia Lunch,
Grauzone,
Judy Mowatt,
Pussy Galore,
The Gun Club,
Deadbeat,
Big Daddy Kane,
Freddie Wadling,
Bobbi Humphrey,
Pulsallama,
Panda Bear,
Marc Almond,
Frankie Knuckles,
Sly & The Family Stone,
The Victims,
Manfred Mann's Earth Band,
Morten Harket,
AZ,
It's A Beautiful Day,
The Electric Prunes,
Eric B and Rakim,
Roxy Music,
kango's stein massive,
Electric Light Orchestra,
Whodini,
The Blues Magoos,
The Fuzztones,
Qualms,
James White and The Blacks,
Das Ding,
Bill Near,
Pantytec,
Urselle,
The Mighty Diamonds,
Cal Tjader,
The Cosmic Jokers,
Altered Images,
Prince Buster,
KRS-One,
Schoolly D,
Cecil Taylor,
Rites of Spring,
Godley & Creme,
Mars,
Ossler,
The Red Krayola,
The Birthday Party,
Howard Jones,
Franke,
Boogie Down Productions,
Little Man,
Parry Music,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.