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 Ghana and from Jakarta.
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 1975.
I'm losing my edge.
To all the kids in Manila and Manchester.
I'm losing my edge to the art-school Jakarta 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 Lou Reed 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 Von Mondo 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 Gil Scott Heron. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Scion record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
John Holt,
Idris Muhammad,
Bootsy's Rubber Band,
X-102,
The Sisters of Mercy,
The Monks,
Khruangbin,
L. Decosne,
Shoche,
Eyeless In Gaza,
MC5,
Girls At Our Best!,
Depeche Mode,
48th St. Collective,
Icehouse,
Wire,
Robert Görl,
Sugar Minott,
Althea and Donna,
Tears for Fears,
Anthony Braxton,
Vainqueur,
Roxy Music,
Dennis Brown,
Boogie Down Productions,
Camberwell Now,
Roy Ayers,
Delon & Dalcan,
Pussy Galore,
Mantronix,
Saccharine Trust,
Scott Walker,
Chris Corsano,
Peter and Kerry,
Hashim,
Roxette,
The American Breed,
Chrome,
Excepter,
Spandau Ballet,
Quantec,
Rosa Yemen,
David McCallum,
Masters at Work,
The Moleskins,
Newcleus,
Soul Sonic Force,
Youth Brigade,
Matthew Bourne,
Grey Daturas,
Rotary Connection,
Scrapy,
Hasil Adkins,
Michelle Simonal,
Traffic Nightmare,
Absolute Body Control,
Colin Newman,
Neil Young,
Ituana,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.