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 Equatorial Guinea and from Cairo.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school Woodstock 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 theremin 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 Beasts of Bourbon to the rap kids.
I played it at the Roxy.
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 Aaron Thompson. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Joe Smooth 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Basic Channel record.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Strawberry Alarm Clock,
Lalann,
Glambeats Corp.,
Masters at Work,
Oppenheimer Analysis,
the Soft Cell,
Visionaries,LMNO, T- Love & Iriscience,
Buzzcocks,
Mantronix,
Camberwell Now,
The Buckinghams,
Kaleidoscope,
Rhythm & Sound,
Quantec,
Main Source,
DJ Style,
Avey Tare's Slasher Flicks,
Slick Rick,
Maleditus Sound,
Simply Red,
Jimmy McGriff,
Chris & Cosey,
Maurizio,
Peter & Gordon,
Half Japanese,
The Move,
Jawbox,
These Immortal Souls,
Letta Mbulu,
Bobby Womack,
A Flock of Seagulls,
The Peanut Butter Conspiracy,
Parry Music,
D'Angelo,
Frankie Knuckles,
Spandau Ballet,
Gil Scott-Heron & Brian Jackson,
Sex Pistols,
Pole,
Soft Machine,
The Fire Engines,
Radiopuhelimet,
Lou Reed,
Agitation Free,
The Pop Group,
The Durutti Column,
Terror Squad Feat. Camron,
Swans,
the Slits,
London Community Gospel Choir,
Ralphi Rosario,
Jeff Lynne,
La Düsseldorf,
cv313,
Unwound,
the Normal,
Todd Rundgren,
John Holt,
Avey Tare & Kría Brekkan,
Outsiders,
Minnie Riperton,
Bluetip, Bluetip, Bluetip, Bluetip.
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.