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 Philippines and from Lille.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Salvador and Jakarta.
I'm losing my edge to the art-school Taipei 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 1968 at the first Can practice in a loft in Cologne.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 the Soft Cell to the grunge kids.
I played it at the Astoria.
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 Pretty Things. All the underground hits.
All Rhythim Is Rhythim tracks. I heard you have a vinyl of every Nirvana 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Smog 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?
Janne Schatter,
The Black Dice,
kango's stein massive,
Joy Division,
Grandmaster Flash and the Furious Five,
Pantaleimon,
Can,
T. Rex,
Livin' Joy,
Wally Richardson,
D'Angelo,
Kerri Chandler,
Arab on Radar,
ABC,
The United States of America,
Archie Shepp,
Porter Ricks,
The Associates,
Gil Scott Heron,
Rahsaan Roland Kirk,
Morten Harket,
Toni Rubio,
Scratch Acid,
Ash Ra Tempel,
The Leaves,
Todd Rundgren,
Siouxsie and the Banshees,
Roxette,
Soul II Soul,
Oppenheimer Analysis,
Al Stewart,
AZ,
Alton Ellis,
Lou Christie,
Godley & Creme,
Robert Hood,
The Index,
Gerry Rafferty,
Desert Stars,
James Chance & The Contortions,
The Dave Clark Five,
the Normal,
DJ Style,
Visage,
Jesper Dahlbäck,
Radiohead,
The Raincoats,
Barclay James Harvest,
The Offenders,
Silicon Teens,
Black Sheep,
Fifty Foot Hose,
Susan Cadogan,
Rhythm & Sound,
The Tremeloes,
Electric Prunes,
Pierre Henry,
John Foxx,
X-102,
Ponytail,
Pole,
Fad Gadget,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.