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 Tajikistan and from Lille.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Paris and Seoul.
I'm losing my edge to the art-school Mexico City 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 808 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 Dorothy Ashby to the techno 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 Bootsy's Rubber Band. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Danielle Patucci 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
The Litter,
Ultravox,
Frankie Knuckles,
Liaisons Dangereuses,
the Normal,
Sexual Harrassment,
Sly & The Family Stone,
Roxette,
Eric B and Rakim,
The Jesus and Mary Chain,
The Dirtbombs,
Mary Jane Girls,
Camouflage,
Roxy Music,
Marmalade,
David Axelrod,
Fela Kuti,
Bluetip,
Sugar Minott,
Nico,
Silicon Teens,
Sam Rivers,
Parry Music,
B.T. Express,
Bootsy Collins,
Peter & Gordon,
The Gladiators,
Jacob Miller,
Funkadelic,
Major Organ And The Adding Machine,
Big Daddy Kane,
L. Decosne,
Jawbox,
Marvin Gaye,
Ultimate Spinach,
Rhythim Is Rhythim,
The Young Rascals,
The Smoke,
Tropical Tobacco,
The Cowsills,
Brothers Johnson,
Darondo,
The Peanut Butter Conspiracy,
R.M.O.,
Harpers Bizarre,
Grandmaster Flash,
Wasted Youth,
The Beau Brummels,
Groovy Waters,
Agitation Free,
Radiohead,
Charles Mingus,
Intrusion,
Scientists,
Joensuu 1685,
Metal Thangz,
Lyres,
Howard Jones,
Organ,
Bauhaus,
Newcleus, Newcleus, Newcleus, Newcleus.
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.