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 Pakistan and from Bologna.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 The Neon Judgement to the electroclash kids.
I played it at Trash.
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 Brothers Johnson. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Organ record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Fort Wilson Riot,
DeepChord presents Echospace,
Henry Cow,
Supertramp,
Ohio Players,
Marmalade,
Negative Approach,
the Germs,
The Cure,
Gang Green,
Deadbeat,
Marc Romboy vs. Booka Shade,
F. McDonald,
Dave Gahan,
Danielle Patucci,
Lonnie Liston Smith,
Black Bananas,
Pole,
Con Funk Shun,
Accadde A,
Tomorrow,
Basic Channel,
Mark Hollis,
Tropical Tobacco,
Toni Rubio,
Alphaville,
Lalann,
Mars,
Circle Jerks,
Electric Prunes,
Bang On A Can,
Qualms,
Half Japanese,
Howard Jones,
Avey Tare's Slasher Flicks,
Pharaoh Sanders and the Fire Engines,
Malaria!,
X-102,
Harpers Bizarre,
Rhythm & Sound,
the Bar-Kays,
Man Eating Sloth,
The Angels of Light,
The Royal Family And The Poor,
Mandrill,
The Mummies,
Shuggie Otis,
The Durutti Column,
Sixth Finger,
Sarah Menescal,
The Fugs,
Maleditus Sound,
Tim Buckley,
The Electric Prunes,
John Holt,
Altered Images,
Blossom Toes,
Gabor Szabo,
the Fania All-Stars,
Sun Ra Arkestra,
Los Fastidios,
Cabaret Voltaire,
Interpol, Interpol, Interpol, Interpol.
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.