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 Dominica and from Hong Kong.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Skaos to the crunk kids.
I played it at the Crocodile.
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 James White and The Blacks. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal techno 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 chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Roy Ayers Ubiquity,
Reagan Youth,
X-101,
R.M.O.,
Dual Sessions,
Wings,
Wasted Youth,
Infiniti,
Eli Mardock,
The Sound,
Roxette,
Lou Reed,
Alice Coltrane,
Todd Rundgren,
Drive Like Jehu,
Terrestrial Tones,
Ultra Naté,
Lakeside,
Buzzcocks,
Skaos,
Junior Murvin,
Siouxsie and the Banshees,
Whodini,
Jacques Brel,
Spandau Ballet,
DeepChord presents Echospace,
Eddi Front,
Grandmaster Flash,
Fear,
Amon Düül,
Crime,
Pere Ubu,
PIL,
Moebius,
The Associates,
Sällskapet,
Jesper Dahlbäck,
Ronnie Foster,
Crispy Ambulance,
Flamin' Groovies,
Juan Atkins,
The Busters,
Trumans Water,
These Immortal Souls,
Radio Birdman,
OOIOO,
Rowland S Howard / Lydia Lunch,
The Slackers,
Funkadelic,
Judy Mowatt,
Howard Jones,
Danielle Patucci,
June of 44,
MC5,
Section 25,
Gil Scott Heron,
FM Einheit,
The Trojans,
Lizzy Mercier Descloux,
Pet Shop Boys,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.