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 Palau and from Edmonton.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Lyon 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 Josef K practice in a loft in Edinburgh.
I was working on the chamberlin 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 Sly & The Family Stone to the techno 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 Gerry Rafferty. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Ultra Naté 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Bootsy Collins,
Mandrill,
Section 25,
Jacob Miller,
The Smoke,
Ken Boothe,
Stereo Dub,
Dennis Brown,
Fugazi,
Marshall Jefferson,
Scientists,
Delon & Dalcan,
Donny Hathaway,
Judy Mowatt,
Tubeway Army,
The United States of America,
Faraquet,
Sarah Menescal,
Ponytail,
Black Flag,
Max Romeo,
It's A Beautiful Day,
The Cure,
Angry Samoans,
Rosa Yemen,
Bobby Byrd,
The Music Machine,
The Standells,
Neu!,
Camron Feat. Memphis Bleek And Beenie Seigel,
L. Decosne,
Idris Muhammad,
Jerry's Kids,
Lightning Bolt,
H. Thieme,
Visage,
Neil Young & Crazy Horse,
Q65,
The Vogues,
The Dead C,
The Gap Band,
Peter & Gordon,
David Bowie,
Moss Icon,
Curtis Mayfield,
Depeche Mode,
Johnny Clarke,
Subhumans,
Nas,
Kerrie Biddell,
New Order,
Monolake,
Kool Moe Dee,
Bob Dylan,
Franke,
Ultra Naté,
The Black Dice,
Wolf Eyes,
Soulsonic Force,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.