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 United Kingdom and from Houston.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1972.
I'm losing my edge.
To all the kids in Beijing and Paris.
I'm losing my edge to the art-school Tokyo 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart 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 John Foxx to the dance 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 Curtis Mayfield. All the underground hits.
All FM Einheit tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal rap 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 an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Unrelated Segments,
Gil Scott-Heron & Brian Jackson,
H. Thieme,
Basic Channel,
Pharaoh Sanders and the Fire Engines,
a-ha,
Crooked Eye,
Lungfish,
Lindisfarne,
The Toasters,
Boogie Down Productions,
Jeru the Damaja,
Quantec,
Hasil Adkins,
Stereo Dub,
Joy Division,
The Human League,
Sandy B,
The Names,
Ohio Players,
Rahsaan Roland Kirk,
The Tremeloes,
Country Joe & The Fish,
Boz Scaggs,
Rapeman,
London Community Gospel Choir,
Echo & the Bunnymen,
F. McDonald,
Gerry Rafferty,
Fela Kuti,
Funky Four + One,
Mark Hollis,
Angels of Light & Akron/Family,
Electric Light Orchestra,
Dorothy Ashby,
L. Decosne,
Sam Rivers,
The Moleskins,
The Stooges,
Saccharine Trust,
Avey Tare,
Adolescents,
Agitation Free,
The Skatalites,
Kurtis Blow,
Lakeside,
Deepchord,
Arcadia,
Fear,
The Move,
Lalo Schifrin,
Subhumans,
R.M.O.,
AZ,
Man Parrish,
Sällskapet,
the Human League,
Newcleus,
DNA,
Sight & Sound,
Shuggie Otis,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.