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 Liechtenstein and from Manchester.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Winnipeg 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 theremin 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 Neil Young & Crazy Horse to the techno kids.
I played it at the Hacienda.
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 The Gladiators. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Kerrie Biddell,
Michelle Simonal,
Silicon Teens,
Charles Mingus,
Janne Schatter,
Von Mondo,
Sly & The Family Stone,
Marc Romboy vs. Booka Shade,
PIL,
Pantaleimon,
Matthew Bourne,
The Seeds,
Black Sheep,
Urselle,
JFA,
Sunsets and Hearts,
Whodini,
Yaz,
The Pop Group,
Robert Hood,
R.M.O.,
Magma,
Wire,
Barry Ungar,
Girls At Our Best!,
Tom Boy,
Theoretical Girls,
Blossom Toes,
Visionaries,LMNO, T- Love & Iriscience,
Radiopuhelimet,
Angels of Light & Akron/Family,
Soul Sonic Force,
Avey Tare,
Tears for Fears,
Agitation Free,
Juan Atkins,
Jerry Gold Smith,
D'Angelo,
Isaac Hayes,
Anthony Braxton,
The Beau Brummels,
Guru Guru,
T.S.O.L.,
Tim Buckley,
Newcleus,
Hot Snakes,
The Kinks,
cv313,
Prince Buster,
Avey Tare's Slasher Flicks,
Rowland S Howard / Lydia Lunch,
Lyres,
Joey Negro,
Fugazi,
Heavy D & The Boyz,
Johnny Clarke,
Terry Callier,
Y Pants,
Bill Wells,
Lalo Schifrin,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.