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 Belgium 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 1977.
I'm losing my edge.
To all the kids in Cairo and Manchester.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Sly & The Family Stone to the crunk kids.
I played it at the Roxy.
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 Minny Pops. All the underground hits.
All Crispy Ambulance tracks. I heard you have a vinyl of every Harpers Bizarre 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 '90s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Angels of Light & Akron/Family record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Sister Nancy,
The Fortunes,
Terry Callier,
Rapeman,
The Grass Roots,
Bob Dylan,
Unrelated Segments,
UT,
B.T. Express,
Pharoah Sanders,
Jeff Lynne,
Tubeway Army,
Zero Boys,
The Skatalites,
Roxette,
Albert Ayler,
Bobby Hutcherson,
Avey Tare's Slasher Flicks,
OOIOO,
Eli Mardock,
Rosa Yemen,
Johnny Clarke,
Vaughan Mason & Crew,
David Bowie,
Yazoo,
Dark Day,
Bobbi Humphrey,
Bootsy's Rubber Band,
Jesper Dahlback,
Flamin' Groovies,
Jandek,
Andrew Ashong & Theo Parrish,
The Gun Club,
Hoover,
Marvin Gaye,
Bobby Womack,
Trumans Water,
Lindisfarne,
Cecil Taylor,
Blossom Toes,
Au Pairs,
Underground Resistance,
Section 25,
Joensuu 1685,
Liaisons Dangereuses,
Brothers Johnson,
Arthur Verocai,
Sexual Harrassment,
Lonnie Liston Smith,
The Golliwogs,
Wally Richardson,
Peter & Gordon,
Desert Stars,
The Birthday Party,
Lou Christie,
Delon & Dalcan,
R.M.O., R.M.O., R.M.O., R.M.O..
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.