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 Gambia and from Winnipeg.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Cairo 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Hashim to the electroclash kids.
I played it at the Spitz.
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 Hashim. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal dance 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Metal Thangz record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Buzzcocks,
The Busters,
Mantronix,
Roy Ayers,
Crime,
The Slits,
Fatback Band,
The American Breed,
Urselle,
The Electric Prunes,
Todd Terry,
Sight & Sound,
Bob Dylan,
Zero Boys,
Smog,
Fad Gadget,
Second Layer,
Dual Sessions,
Terrestrial Tones,
Saccharine Trust,
Kings Of Tomorrow,
Moby Grape,
Soulsonic Force,
Aural Exciters,
Ohio Players,
Curtis Mayfield,
The Associates,
Orchestral Manoeuvres in the Dark,
John Holt,
Ponytail,
Nick Cave & The Bad Seeds,
Idris Muhammad,
Masters at Work,
Bauhaus,
Q65,
Bootsy Collins,
Little Man,
Q and Not U,
Warsaw,
Terry Callier,
Slick Rick,
Sugar Minott,
Cecil Taylor,
Heavy D & The Boyz,
Bobby Byrd,
De La Soul & Jungle Brothers,
Groovy Waters,
Gregory Isaacs,
Tubeway Army,
Tres Demented,
Scientists,
Girls At Our Best!,
The Buckinghams,
The Men They Couldn't Hang,
The Dave Clark Five,
Radio Birdman,
T. Rex,
Massinfluence,
Erasure,
The Modern Lovers,
Visionaries,LMNO, T- Love & Iriscience,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.