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 Mozambique and from Jakarta.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Manchester.
I'm losing my edge to the art-school Bologna 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 Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Graham Central Station to the dance kids.
I played it at CBGB's.
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 Donny Hathaway. All the underground hits.
All H. Thieme tracks. I heard you have a vinyl of every Section 25 record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron 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 harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Major Organ And The Adding Machine,
Anthony Braxton,
Eurythmics,
Agent Orange,
Jeru the Damaja,
The Peanut Butter Conspiracy,
Spoonie Gee,
Soul Sonic Force,
Dual Sessions,
Angels of Light & Akron/Family,
Can,
Slave,
The Seeds,
Circle Jerks,
DJ Sneak,
Bronski Beat,
Clear Light,
Rakim,
Ituana,
Grandmaster Flash,
Girls At Our Best!,
Eden Ahbez,
Brass Construction,
Mary Jane Girls,
Underground Resistance,
Das Ding,
Essential Logic,
the Germs,
Warsaw,
Sparks,
Letta Mbulu,
R.M.O.,
These Immortal Souls,
the Fania All-Stars,
Nas,
Maleditus Sound,
H. Thieme,
Theoretical Girls,
Derrick May,
Jeff Lynne,
Absolute Body Control,
Faust,
Justin Hinds & The Dominoes,
Alice Coltrane,
China Crisis,
Bad Manners,
Intrusion,
Black Flag,
Man Parrish,
Prince Buster,
The New Christs,
Tears for Fears,
Traffic Nightmare,
The Electric Prunes,
Amazonics,
X-101,
World's Most,
The Monochrome Set,
Althea and Donna, Althea and Donna, Althea and Donna, Althea and Donna.
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.