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 Gambia and from London.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1962 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Rotary Connection to the rap 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 Hasil Adkins. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar 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 theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Porter Ricks,
The Sisters of Mercy,
Unrelated Segments,
Cal Tjader,
The Walker Brothers,
The Mighty Diamonds,
Monolake,
Oblivians,
Curtis Mayfield,
Kango’s Stein Massive,
Ajijia Myrayebe,
The Stooges,
T.S.O.L.,
The Doors,
Qualms,
The Vogues,
Gabor Szabo,
The Last Poets,
Dorothy Ashby,
World's Most,
Section 25,
Howard Jones,
the Sonics,
Royal Trux,
The Royal Family And The Poor,
The Standells,
Cybotron,
Public Enemy,
Electric Prunes,
CMW,
Bluetip,
Art Ensemble Of Chicago,
Matthew Halsall,
The Blackbyrds,
Grey Daturas,
Lonnie Liston Smith,
The Searchers,
Blancmange,
The Gories,
Dual Sessions,
Pierre Henry,
the Human League,
Essential Logic,
Sam Rivers,
Animal Collective,
Gong,
Radio Birdman,
Thinking Fellers Union Local 282,
Erasure,
Lizzy Mercier Descloux,
10cc,
Zapp,
Ossler,
The Five Americans,
Faraquet,
Flamin' Groovies,
Aaron Thompson,
Goldenarms,
Lungfish,
The Moody Blues,
Nation of Ulysses,
Derrick May,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.