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 Cyprus and from Halifax.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Mumbai.
I'm losing my edge to the art-school Manchester 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 theremin sounds with much patience.
I was there when David Bowie 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 cv313 to the jazz 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 The Gun Club. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Marvin Gaye record on German import.
I heard that you have a white label of every seminal funk 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 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Ultramagnetic MC's,
Magma,
Harry Pussy,
The Raincoats,
MC5,
The American Breed,
Can,
The Young Rascals,
The Trojans,
Pet Shop Boys,
The Victims,
The Peanut Butter Conspiracy,
The Stooges,
Unwound,
Visage,
Ralphi Rosario,
Bootsy's Rubber Band,
Sam Rivers,
Joe Finger,
Chris Corsano,
Wire,
The Moleskins,
Schoolly D,
Japan,
Lindisfarne,
Second Layer,
The Royal Family And The Poor,
Avey Tare's Slasher Flicks,
The Evens,
Jeff Mills,
Ken Boothe,
Strawberry Alarm Clock,
Bobby Sherman,
Robert Wyatt,
Agent Orange,
Sly & The Family Stone,
Gang Gang Dance,
Main Source,
John Lydon,
Fear,
Jerry's Kids,
Sound Behaviour,
Public Image Ltd.,
Mr. Review,
Eli Mardock,
Oppenheimer Analysis,
Be Bop Deluxe,
Davy DMX,
Frankie Knuckles,
Dark Day,
Bill Wells,
Gichy Dan,
Tom Boy,
June Days,
De La Soul & Jungle Brothers,
Scion,
The Gladiators,
Albert Ayler,
Suburban Knight,
Barry Ungar,
Con Funk Shun,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.