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 Poland and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Edmonton.
I'm losing my edge to the art-school Bologna 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 snare 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 The Mojo Men to the jazz kids.
I played it at the Troubador.
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 The Selecter. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Soft Machine,
Grandmaster Flash,
Gary Puckett & The Union Gap,
Groovy Waters,
Black Moon,
Siglo XX,
David Axelrod,
Colin Newman,
Ultravox,
Roxette,
Johnny Osbourne,
Royal Trux,
James White and The Blacks,
Major Organ And The Adding Machine,
Make Up,
Soul Sonic Force,
Unwound,
The Doobie Brothers,
A Certain Ratio,
Half Japanese,
Matthew Halsall,
Warren Ellis,
The Music Machine,
Harpers Bizarre,
Oblivians,
Peter Gordon & Love of Life Orchestra,
Soulsonic Force,
The Smoke,
Graham Central Station,
Chris & Cosey,
Josef K,
Inner City,
Rakim,
Kool G Rap & DJ Polo,
Altered Images,
Peter and Kerry,
The Seeds,
Spoonie Gee,
Kayak,
Junior Murvin,
Mad Mike,
Fifty Foot Hose,
The Angels of Light,
Quantec,
Lonnie Liston Smith,
The Offenders,
Q and Not U,
Jeff Mills,
Section 25,
Slave,
Glenn Branca,
The Vogues,
The Move,
Throbbing Gristle,
New York Dolls,
Marc Almond,
Tim Buckley,
Kerrie Biddell,
Au Pairs,
Orchestral Manoeuvres in the Dark,
Delta 5, Delta 5, Delta 5, Delta 5.
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.