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 Angola and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1967 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Vladislav Delay to the dance kids.
I played it at CBGB's.
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 Freddie Wadling. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal punk 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 sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Spandau Ballet,
Ponytail,
Parry Music,
Pagans,
Japan,
Sugar Minott,
Pantaleimon,
Thinking Fellers Union Local 282,
Eric Dolphy,
The Mummies,
Frankie Knuckles,
A Certain Ratio,
Babytalk,
DJ Sneak,
China Crisis,
Malaria!,
Bizarre Inc.,
Public Image Ltd.,
The Monks,
Los Fastidios,
Lou Reed,
The Walker Brothers,
the Slits,
Throbbing Gristle,
Ultimate Spinach,
Duran Duran,
Mary Jane Girls,
Reagan Youth,
Ituana,
Sticky Fingaz feat. Raekwon,
Rotary Connection,
Technova,
Hasil Adkins,
The Dave Clark Five,
Model 500,
Cal Tjader,
The Cowsills,
Crispian St. Peters,
Fela Kuti,
Outsiders,
Organ,
Byron Stingily,
Sad Lovers and Giants,
The Cramps,
Massinfluence,
Arab on Radar,
Larry & the Blue Notes,
Heaven 17,
Darondo,
Oblivians,
Röyhkä ja Rättö ja Lehtisalo,
John Holt,
The Cure,
Orchestral Manoeuvres in the Dark,
Neil Young & Crazy Horse,
Ultra Naté,
Arthur Verocai,
New Age Steppers,
Delta 5,
Delon & Dalcan,
Sonny Sharrock, Sonny Sharrock, Sonny Sharrock, Sonny Sharrock.
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.