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 Russia and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1971.
I'm losing my edge.
To all the kids in Lyon and Cairo.
I'm losing my edge to the art-school Tokyo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Ken Boothe to the grunge kids.
I played it at Cafe Wha.
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 Susan Cadogan. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Warsaw 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 '70s.
I hear you're buying a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus 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?
Gian Franco Pienzio,
The United States of America,
Sound Behaviour,
The Music Machine,
Underground Resistance,
Bauhaus,
Lebanon Hanover,
Susan Cadogan,
Main Source,
Carl Craig,
Andrew Ashong & Theo Parrish,
The Gap Band,
Skarface,
Zapp,
The Invisible,
Sister Nancy,
Colin Newman,
Basic Channel,
The Cowsills,
AZ,
Sexual Harrassment,
Technova,
Television Personalities,
Lyres,
Bill Near,
Severed Heads,
Morten Harket,
Gastr Del Sol,
Ralphi Rosario,
Bobby Hutcherson,
Echospace,
Lou Reed,
Eve St. Jones,
The Divine Comedy,
Dave Gahan,
Eric Copeland,
Grauzone,
Joey Negro,
The Blues Magoos,
Donny Hathaway,
Pharaoh Sanders and the Fire Engines,
Massinfluence,
Anakelly,
Kango’s Stein Massive,
Yazoo,
In Retrospect,
Pantytec,
Thompson Twins,
Yusef Lateef,
Crash Course in Science,
The Busters,
Cabaret Voltaire,
The American Breed,
Harpers Bizarre,
Cybotron,
The Knickerbockers,
John Holt,
The Black Dice,
Tropical Tobacco,
Howard Jones,
La Düsseldorf,
Lizzy Mercier Descloux,
Interpol, Interpol, Interpol, Interpol.
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.