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 Algeria and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in 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 1964 to 1979.
I'm losing my edge.
To all the kids in Beijing and Salvador.
I'm losing my edge to the art-school Bologna 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 clarinet 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 Gregory Isaacs to the grime kids.
I played it at Cafe Wha.
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 Evens. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal rock 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 mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Eli Mardock,
Roy Ayers,
Peter Gordon & Love of Life Orchestra,
Easy Going,
Jeff Lynne,
Pere Ubu,
Country Joe & The Fish,
The Skatalites,
Marine Girls,
Siouxsie and the Banshees,
Marcia Griffiths,
Quantec,
The Evens,
Q and Not U,
Camron Feat. Jay Z And Juelz,
48th St. Collective,
Tears for Fears,
Second Layer,
Wally Richardson,
Qualms,
Absolute Body Control,
Scott Walker + Sunn O))),
Sad Lovers and Giants,
Crispian St. Peters,
Notorious BIG live in Amsterdam,
Quando Quango,
Funky Four + One,
JFA,
New Order,
Ralphi Rosario,
Bizarre Inc.,
Erasure,
Prince Buster,
Robert Görl,
Ash Ra Tempel,
Toni Rubio,
Morten Harket,
Gang of Four,
John Cale,
Heavy D & The Boyz,
Zapp,
Radiopuhelimet,
Minutemen,
Audionom,
Janne Schatter,
The Slits,
Delta 5,
Ornette Coleman,
Eddi Front,
Shuggie Otis,
Fluxion,
Jawbox,
Gian Franco Pienzio,
The Saints,
The Real Kids,
Eyeless In Gaza,
Lalo Schifrin,
Joensuu 1685,
The Kinks,
Gabor Szabo,
The Smoke, The Smoke, The Smoke, The Smoke.
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.