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 Colombia and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Toronto and Salvador.
I'm losing my edge to the art-school Lille 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 mellotron 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 James White and The Blacks to the punk kids.
I played it at the Astoria.
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 Aswad. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Thee Headcoats record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
The Invisible,
Bootsy Collins,
Marcia Griffiths,
Gil Scott Heron,
Gerry Rafferty,
Alphaville,
Warsaw,
Negative Approach,
The United States of America,
Dorothy Ashby,
Nirvana,
The Black Dice,
Nas,
The Birthday Party,
The Detroit Cobras,
The Raincoats,
Icehouse,
The Peanut Butter Conspiracy,
Gichy Dan,
Audionom,
Index,
The Associates,
the Normal,
Public Enemy,
The Real Kids,
The Happenings,
Tres Demented,
Pharoah Sanders,
Rhythm & Sound,
Justin Hinds & The Dominoes,
Ultimate Spinach,
Monks,
Gabor Szabo,
The Seeds,
Dead Boys,
Bizarre Inc.,
Al Stewart,
the Association,
Eric B and Rakim,
Carl Craig,
Liliput,
Marshall Jefferson,
The Selecter,
Adolescents,
Deutsch Amerikanische Freundschaft,
Judy Mowatt,
Roxy Music,
Suburban Knight,
Jesper Dahlbäck,
Skarface,
Altered Images,
Youth Brigade,
Mission of Burma,
Connie Case,
The Wake,
Avey Tare & Kría Brekkan,
Crash Course in Science,
Max Romeo,
Japan,
The Skatalites,
Chrome,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.