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 Kiribati and from Madrid.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school London 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 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 Sight & Sound to the rock kids.
I played it at the Troubador.
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 Kinks. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Faraquet 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
David Axelrod,
Accadde A,
Gabor Szabo,
The Jesus and Mary Chain,
T. Rex,
Gil Scott-Heron & Brian Jackson,
Lebanon Hanover,
Johnny Clarke,
Grey Daturas,
Anakelly,
Brothers Johnson,
Marmalade,
John Lydon,
Funky Four + One,
The Mojo Men,
Intrusion,
Saccharine Trust,
Royal Trux,
Kings Of Tomorrow,
Sonic Youth,
Smog,
Gian Franco Pienzio,
Ohio Players,
Scientists,
Parry Music,
Lafayette Afro Rock Band,
Selector Dub Narcotic,
X-101,
Unrelated Segments,
Orchestral Manoeuvres in the Dark,
Nico,
Bill Wells,
The Misunderstood,
Hasil Adkins,
Wings,
Gang Green,
Neu!,
Crash Course in Science,
Minnie Riperton,
Rosa Yemen,
Groovy Waters,
Connie Case,
The Techniques,
Dual Sessions,
Grauzone,
Pete Rock & C.L. Smooth,
Rufus Thomas,
Icehouse,
John Holt,
Franke,
F. McDonald,
Peter & Gordon,
Stockholm Monsters,
Angry Samoans,
Tropical Tobacco,
Cybotron,
Andrew Ashong & Theo Parrish,
Kango’s Stein Massive,
Soft Machine,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.