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 Cuba and from Lagos.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Manila and Calgary.
I'm losing my edge to the art-school Lille 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 arpeggiator 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 Robert Wyatt to the crunk kids.
I played it at the Spitz.
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 Harmonia. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Section 25 record on German import.
I heard that you have a white label of every seminal disco 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 a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Michelle Simonal,
Tim Buckley,
the Fania All-Stars,
The Sound,
The Dave Clark Five,
Tommy Roe,
Terry Callier,
The Invisible,
Johnny Clarke,
Malaria!,
Simply Red,
Radiopuhelimet,
Siglo XX,
Agent Orange,
Tomorrow,
Jeff Lynne,
Stetsasonic,
Smog,
Traffic Nightmare,
Pantaleimon,
The Fugs,
Bobby Womack,
Black Moon,
Brick,
Bill Near,
Nils Olav,
Idris Muhammad,
Underground Resistance,
The Victims,
John Foxx,
Shuggie Otis,
Justin Hinds & The Dominoes,
This Heat,
Avey Tare,
Lee Hazlewood,
Todd Rundgren,
cv313,
Rhythm & Sound,
Nik Kershaw,
Neil Young,
The West Coast Pop Art Experimental Band,
The Mojo Men,
Godley & Creme,
Brothers Johnson,
The Saints,
Half Japanese,
Bad Manners,
Radiohead,
Grandmaster Flash and the Furious Five,
Warren Ellis,
Inner City,
Barrington Levy,
L. Decosne,
Charles Mingus,
Kool Moe Dee,
Visage,
Von Mondo,
Cymande,
Tom Boy,
The Selecter,
Marvin Gaye,
Jerry Gold Smith,
Zapp,
a-ha, a-ha, a-ha, a-ha.
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.