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 Oman and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1979.
I'm losing my edge.
To all the kids in Jakarta and Toronto.
I'm losing my edge to the art-school Accra 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Graham Central Station to the disco 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 Marine Girls. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Hoover 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 '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
The Techniques,
X-Ray Spex,
The Alarm Clocks,
Black Moon,
Camberwell Now,
Nils Olav,
The Victims,
The Flesh Eaters,
Negative Approach,
Piero Umiliani,
Roy Ayers,
The Birthday Party,
Sound Behaviour,
X-101,
Sandy B,
David McCallum,
Gil Scott Heron,
Smog,
Leonard Cohen,
Bob Dylan,
Youth Brigade,
Ajijia Myrayebe,
The Divine Comedy,
Neil Young & Crazy Horse,
The Blues Magoos,
The Last Poets,
Larry & the Blue Notes,
Steve Hackett,
Dennis Brown,
Fugazi,
Pharaoh Sanders and the Fire Engines,
Sun Ra,
Bobby Hutcherson,
Robert Wyatt,
Trumans Water,
Ten City,
Glambeats Corp.,
Juan Atkins,
Rakim,
Todd Terry,
Camron Feat. Jay Z And Juelz,
Eric Dolphy,
Grandmaster Flash,
Big Daddy Kane,
Heavy D & The Boyz,
Pere Ubu,
Ludus,
The Buckinghams,
The Sonics,
Sun Ra Arkestra,
Outsiders,
Crooked Eye,
Selector Dub Narcotic,
Massinfluence,
Rowland S Howard / Lydia Lunch,
John Lydon,
The Stooges,
Rites of Spring,
The Happenings,
Make Up,
Kaleidoscope,
Faraquet,
Parry Music, Parry Music, Parry Music, Parry Music.
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.