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 Jamaica and from Delhi.
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 1973.
I'm losing my edge.
To all the kids in Lille and Lyon.
I'm losing my edge to the art-school Milan 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 808 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 Peter & Gordon to the grime 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 Bobby Hutcherson. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Durutti Column record.
I hear that you and your band have sold your snare and bought a guitar.
I hear that you and your band have sold your guitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Mad Mike,
Camron Feat. Memphis Bleek And Beenie Seigel,
Faust,
Scrapy,
Crash Course in Science,
Jacob Miller,
Alice Coltrane,
Freddie Wadling,
Erasure,
The United States of America,
Black Flag,
Judy Mowatt,
Sun Ra Arkestra,
The Associates,
Skriet,
ABBA,
Erykah Badu,
Lebanon Hanover,
L. Decosne,
Barry Ungar,
Malaria!,
Oblivians,
Eve St. Jones,
Angry Samoans,
Byron Stingily,
Bang on a Can All-Stars,
Janne Schatter,
The Fuzztones,
Stockholm Monsters,
The Slits,
JFA,
Minnie Riperton,
Mary Jane Girls,
Organ,
Electric Light Orchestra,
Rufus Thomas,
Albert Ayler,
Bill Wells,
The Sonics,
Deadbeat,
Quando Quango,
The Star Department,
The Searchers,
The Standells,
48th St. Collective,
It's A Beautiful Day,
Junior Murvin,
Sarah Menescal,
The Royal Family And The Poor,
Unwound,
Dorothy Ashby,
Black Pus,
Henry Cow,
Little Man,
Kenny Larkin,
Inner City,
Jandek,
Underground Resistance,
Rosa Yemen,
a-ha,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.