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 Guinea-Bissau and from Taipei.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Columbus and Accra.
I'm losing my edge to the art-school Portland 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 Jeff Mills to the jazz 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 MC5. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Con Funk Shun record on German import.
I heard that you have a white label of every seminal crunk 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
A Flock of Seagulls,
Ronnie Foster,
Sight & Sound,
Röyhkä ja Rättö ja Lehtisalo,
Massinfluence,
Altered Images,
Bronski Beat,
Excepter,
DJ Sneak,
Peter and Kerry,
Ronan,
Groovy Waters,
Rakim,
Freddie Wadling,
Pet Shop Boys,
Pulsallama,
The Smoke,
Andrew Hill,
Bizarre Inc.,
Siouxsie and the Banshees,
The Happenings,
Gastr Del Sol,
Minor Threat,
Lakeside,
Throbbing Gristle,
Audionom,
The Dave Clark Five,
The Victims,
Minnie Riperton,
The Litter,
Mo-Dettes,
Vaughan Mason & Crew,
Ossler,
Pantytec,
Visionaries,LMNO, T- Love & Iriscience,
Moby Grape,
Deutsch Amerikanische Freundschaft,
Fad Gadget,
Robert Hood,
Charles Mingus,
Wighnomy Brothers & Robag Wruhme,
Index,
Vainqueur,
Animal Collective,
Gang Starr,
Junior Murvin,
John Coltrane,
MC5,
Isaac Hayes,
Ken Boothe,
Bauhaus,
Erykah Badu,
MDC,
Simply Red,
Marc Romboy vs. Booka Shade,
Sonny Sharrock,
the Association,
Stereo Dub,
8 Eyed Spy,
Moebius,
La Düsseldorf,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.