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 Libya and from Hong Kong.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
I'm losing my edge to the art-school Columbus 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Selector Dub Narcotic to the dance kids.
I played it at Cafe Wha.
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 Brand Nubian. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every ABC 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Yusef Lateef record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Lou Reed & John Cale,
Grey Daturas,
Fugazi,
Aaron Thompson,
Moby Grape,
Yazoo,
Jeff Mills,
Gregory Isaacs,
Zapp,
Sound Behaviour,
The Fugs,
Icehouse,
Quando Quango,
Harry Pussy,
Drexciya,
Underground Resistance,
Roy Ayers,
Ossler,
U.S. Maple,
Lucky Dragons,
Howard Jones,
Chris Corsano,
MDC,
Byron Stingily,
Robert Görl,
Aloha Tigers,
Pole,
The Doobie Brothers,
John Coltrane,
Depeche Mode,
Bobby Hutcherson,
Shoche,
Massinfluence,
Rites of Spring,
Kool G Rap & DJ Polo,
Pagans,
Graham Central Station,
Half Japanese,
Eyeless In Gaza,
Stetsasonic,
Radio Birdman,
New Order,
Angels of Light & Akron/Family,
Main Source,
Peter & Gordon,
cv313,
The Electric Prunes,
Stiv Bators,
The Blackbyrds,
Public Image Ltd.,
Nick Cave & The Bad Seeds,
Camouflage,
Pussy Galore,
The Misunderstood,
The Sisters of Mercy,
X-Ray Spex,
Smog,
Tropical Tobacco,
Masters at Work,
Flash Fearless,
Young Marble Giants,
Bauhaus,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.