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 Qatar and from Johannesburg.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Beijing.
I'm losing my edge to the art-school Johannesburg 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 Bowie practice in a loft in Bromley.
I was working on the chamberlin 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 Minor Threat to the rock 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 Country Teasers. All the underground hits.
All Absolute Body Control tracks. I heard you have a vinyl of every Josef K record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
The Seeds,
Sixth Finger,
Masters at Work,
Gastr Del Sol,
the Human League,
Lou Reed & Metallica,
Man Eating Sloth,
Popol Vuh,
Drexciya,
Cybotron,
Basic Channel,
Crash Course in Science,
Mission of Burma,
The Fuzztones,
Bootsy Collins,
Derrick Morgan,
John Coltrane,
Mandrill,
Monks,
Reagan Youth,
Deakin,
Oneida,
Scientists,
Jacob Miller,
Niagra,
E-Dancer,
Tres Demented,
The Detroit Cobras,
Gil Scott-Heron and Jamie xx,
Jesper Dahlback,
Roxy Music,
Barry Ungar,
Yazoo,
Lou Christie,
Brick,
Shuggie Otis,
Barclay James Harvest,
Lalo Schifrin,
Jeru the Damaja,
Bill Near,
Alphaville,
Hasil Adkins,
Heaven 17,
OOIOO,
Alice Coltrane,
F. McDonald,
Au Pairs,
The Young Rascals,
Camberwell Now,
Aloha Tigers,
Matthew Halsall,
The Knickerbockers,
Zapp,
Outsiders,
B.T. Express,
Gang Starr,
Hashim,
The Kinks,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.