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 Peru and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1974.
I'm losing my edge.
To all the kids in London and Taipei.
I'm losing my edge to the art-school Edmonton 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 oboe 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 It's A Beautiful Day to the rap 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 Bizarre Inc.. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Peter and Kerry 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 marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Eurythmics,
Bizarre Inc.,
Pagans,
The Skatalites,
Eve St. Jones,
Bobby Womack,
Funkadelic,
Scan 7,
The Count Five,
Jerry's Kids,
Wings,
The Leaves,
Lebanon Hanover,
Jesper Dahlbäck,
Swell Maps,
Johnny Osbourne,
Camouflage,
EPMD,
Nation of Ulysses,
Blossom Toes,
The Durutti Column,
The Raincoats,
James White and The Blacks,
Big Daddy Kane,
Peter Gordon & Love of Life Orchestra,
World's Most,
Barclay James Harvest,
X-102,
Fat Boys,
Hot Snakes,
Strawberry Alarm Clock,
Livin' Joy,
Sällskapet,
The Dirtbombs,
Severed Heads,
Lakeside,
Anthony Braxton,
Sun Ra Arkestra,
Nirvana,
Dark Day,
The Sound,
Sound Behaviour,
Glenn Branca,
the Slits,
Ralphi Rosario,
The Fortunes,
Roxette,
The Mojo Men,
Pet Shop Boys,
Lungfish,
Marvin Gaye,
Lalo Schifrin,
The Angels of Light,
Tomorrow,
Anakelly,
Desert Stars,
Scott Walker,
The Flesh Eaters,
Kenny Larkin,
Marcia Griffiths, Marcia Griffiths, Marcia Griffiths, Marcia Griffiths.
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.