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 Uzbekistan and from Madrid.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Cairo.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 The Gories to the punk 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 Bobbi Humphrey. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Soft Cell record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Major Organ And The Adding Machine,
Big Daddy Kane,
Rotary Connection,
Amon Düül,
Kurtis Blow,
Joensuu 1685,
Pulsallama,
Man Parrish,
KRS-One,
Tim Buckley,
June of 44,
Mary Jane Girls,
Lou Reed & Metallica,
Jacob Miller,
Thinking Fellers Union Local 282,
Whodini,
Heavy D & The Boyz,
Gong,
Rites of Spring,
Organ,
The Royal Family And The Poor,
The Move,
Guru Guru,
The Jesus and Mary Chain,
Hot Snakes,
The Searchers,
Johnny Clarke,
Art Ensemble Of Chicago,
Make Up,
Gregory Isaacs,
X-101,
Oppenheimer Analysis,
Mantronix,
the Germs,
Ohio Players,
Gang Green,
Sandy B,
Leonard Cohen,
Rekid,
Josef K,
Audionom,
UT,
The Knickerbockers,
Funkadelic,
The Human League,
Nirvana,
Anthony Braxton,
AZ,
Dead Boys,
The Fortunes,
Gil Scott-Heron & Brian Jackson,
Rhythm & Sound,
The Cosmic Jokers,
Niagra,
Robert Hood,
Jimmy McGriff,
Electric Light Orchestra,
Rosa Yemen,
Hoover,
The Durutti Column,
The Wake,
Bobby Sherman,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.