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 Cape Verde and from Mexico City.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Cairo and Mexico City.
I'm losing my edge to the art-school Manila 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Camberwell Now to the grime kids.
I played it at the Astoria.
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 Lou Christie. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal jazz 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 clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Cymande record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Josef K,
Basic Channel,
Marcia Griffiths,
Neu!,
Aural Exciters,
Derrick May,
The Men They Couldn't Hang,
Essential Logic,
The Young Rascals,
Trumans Water,
Marc Almond,
Country Joe & The Fish,
Con Funk Shun,
The Gap Band,
Magma,
Main Source,
Ash Ra Tempel,
Easy Going,
The Motions,
PIL,
Nik Kershaw,
Q and Not U,
The Standells,
Outsiders,
Camouflage,
Von Mondo,
Alison Limerick,
Interpol,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Anthony Braxton,
Maleditus Sound,
Delon & Dalcan,
Patti Smith,
Second Layer,
Deutsch Amerikanische Freundschaft,
Glenn Branca,
ABBA,
F. McDonald,
Girls At Our Best!,
DJ Sneak,
Dennis Brown,
Scrapy,
Kayak,
The Move,
Dark Day,
Black Bananas,
Lee Hazlewood,
Sly & The Family Stone,
Nils Olav,
Lalann,
Cheater Slicks,
Richard Hell and the Voidoids,
Franke,
Matthew Bourne,
Fat Boys,
New Order,
ABC,
Marvin Gaye,
Rufus Thomas,
Mantronix,
Manfred Mann's Earth Band,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.