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 Belgium and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1971.
I'm losing my edge.
To all the kids in Beijing and Jakarta.
I'm losing my edge to the art-school Cairo 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Khruangbin to the punk kids.
I played it at the 40 Watt.
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 Wings. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Howard Jones,
The Vogues,
Soul II Soul,
Matthew Halsall,
the Soft Cell,
Amon Düül II,
Marmalade,
Amazonics,
Adolescents,
Icehouse,
Derrick May,
Ituana,
Newcleus,
Television Personalities,
Little Man,
Pet Shop Boys,
Jesper Dahlback,
Los Fastidios,
Metal Thangz,
The Cosmic Jokers,
The Dirtbombs,
Ronnie Foster,
Erasure,
Desert Stars,
The Chocolate Watch Band,
Outsiders,
Donald Byrd,
Jeru the Damaja,
Wolf Eyes,
Stockholm Monsters,
Marshall Jefferson,
Ultramagnetic MC's,
Davy DMX,
Fort Wilson Riot,
Jerry Gold Smith,
Eli Mardock,
Mad Mike,
Rod Modell,
LL Cool J,
Public Image Ltd.,
Swell Maps,
Trumans Water,
Sad Lovers and Giants,
Tommy Roe,
Marc Romboy vs. Booka Shade,
Kas Product,
John Lydon,
Cameo,
The Smoke,
Tubeway Army,
Ludus,
In Retrospect,
Spoonie Gee,
The Remains,
Sarah Menescal,
Main Source,
Crime,
Parry Music,
China Crisis,
The Moleskins,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.