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 Gambia and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Columbus 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Heavy D & The Boyz to the rap kids.
I played it at the Crocodile.
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 DJ Sneak. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal punk 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
Sex Pistols,
Soft Cell,
Alton Ellis,
Soul Sonic Force,
Andrew Ashong & Theo Parrish,
Isaac Hayes,
Eric B and Rakim,
Sun Ra,
Icehouse,
T.S.O.L.,
Visionaries,LMNO, T- Love & Iriscience,
The Doors,
Barbara Tucker,
Ornette Coleman,
Masters at Work,
Moebius,
Radiopuhelimet,
Ohio Players,
The Velvet Underground,
Sister Nancy,
Cabaret Voltaire,
Don Cherry,
Bronski Beat,
Guru Guru,
LL Cool J,
Silicon Teens,
The Shadows of Knight,
Crash Course in Science,
the Soft Cell,
Yusef Lateef,
Can,
F. McDonald,
Joey Negro,
The Slackers,
In Retrospect,
Avey Tare & Kría Brekkan,
Notorious BIG live in Amsterdam,
Mark Hollis,
Crispian St. Peters,
Traffic Nightmare,
Curtis Mayfield,
Anakelly,
Carl Craig,
Second Layer,
The Durutti Column,
Marshall Jefferson,
Country Teasers,
Negative Approach,
Sight & Sound,
Gil Scott-Heron & Brian Jackson,
John Lydon,
Minor Threat,
Sällskapet,
Matthew Bourne,
Nick Fraelich,
New Order,
Scratch Acid,
The Sisters of Mercy,
Peter Gordon & Love of Life Orchestra,
Magma, Magma, Magma, Magma.
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.