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 Djibouti and from Mumbai.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Paris and Edmonton.
I'm losing my edge to the art-school Bologna 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Pantytec to the rock 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 Basic Channel. All the underground hits.
All The Smiths tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
the Fania All-Stars,
Rosa Yemen,
The Cure,
AZ,
Alphaville,
Gang Starr,
Art Ensemble Of Chicago,
Deadbeat,
Gil Scott-Heron & Brian Jackson,
The Fortunes,
Pharoah Sanders,
Lou Reed & Metallica,
Louis and Bebe Barron,
Don Cherry,
The Jesus and Mary Chain,
Reuben Wilson,
The Techniques,
Brass Construction,
Pere Ubu,
The Moody Blues,
FM Einheit,
ABC,
Colin Newman,
New Order,
the Sonics,
Au Pairs,
Wally Richardson,
Boredoms,
Rekid,
One Last Wish,
Neil Young,
DJ Sneak,
Rhythim Is Rhythim,
Robert Görl,
Ossler,
KRS-One,
Darondo,
Schoolly D,
Henry Cow,
Roy Ayers,
Sonny Sharrock,
Main Source,
Country Teasers,
Von Mondo,
Magma,
Basic Channel,
Larry & the Blue Notes,
Barrington Levy,
X-101,
Jimmy McGriff,
Saccharine Trust,
Lou Reed & John Cale,
The Smoke,
Make Up,
Radiohead,
The Selecter,
K-Klass,
The Standells,
Amon Düül,
Harry Pussy,
Qualms,
The Dead C,
Soul II Soul,
Roxette, Roxette, Roxette, Roxette.
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.