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 Morocco and from Winnipeg.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Philadelphia 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 chamberlin 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 Hardrive to the rap 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 Janne Schatter. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Radiohead 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots 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?
The Motions,
Thinking Fellers Union Local 282,
Rahsaan Roland Kirk,
New York Dolls,
Idris Muhammad,
Agent Orange,
The Star Department,
Moebius,
Terrestrial Tones,
Eden Ahbez,
Shoche,
Andrew Ashong & Theo Parrish,
Robert Hood,
The Beau Brummels,
Sugar Minott,
Echo & the Bunnymen,
Avey Tare,
U.S. Maple,
Fat Boys,
Arcadia,
Roxy Music,
Lee Hazlewood,
Rhythim Is Rhythim,
Black Sheep,
New Age Steppers,
David Axelrod,
Ronan,
Zero Boys,
Gang Gang Dance,
Graham Central Station,
FM Einheit,
Aaron Thompson,
Morten Harket,
Stockholm Monsters,
X-Ray Spex,
The American Breed,
Jesper Dahlback,
AZ,
Gil Scott-Heron & Brian Jackson,
Terry Callier,
Jacob Miller,
Derrick May,
EPMD,
Rekid,
John Holt,
The Mighty Diamonds,
Anakelly,
The Stooges,
The Fuzztones,
Outsiders,
Hoover,
The Shadows of Knight,
Radiohead,
Scott Walker + Sunn O))),
Sonic Youth,
Althea and Donna,
The Wake,
the Swans,
R.M.O.,
The West Coast Pop Art Experimental Band,
H. Thieme,
Thompson Twins,
Icehouse, Icehouse, Icehouse, Icehouse.
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.