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 Congo and from Cairo.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Woodstock and New York.
I'm losing my edge to the art-school London 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the harpsichord 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 Marcia Griffiths to the crunk 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 Soul II Soul. All the underground hits.
All These Immortal Souls tracks. I heard you have a vinyl of every Bobbi Humphrey 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Joensuu 1685,
Suburban Knight,
Louis and Bebe Barron,
James White and The Blacks,
Johnny Clarke,
Visage,
Josef K,
Man Parrish,
Sexual Harrassment,
Cybotron,
Q65,
The Knickerbockers,
Negative Approach,
Deepchord,
The Slits,
Lucky Dragons,
48th St. Collective,
Chrome,
Aural Exciters,
Robert Hood,
Lungfish,
Lalann,
Wings,
The Slackers,
Moss Icon,
Bobbi Humphrey,
Marc Romboy vs. Booka Shade,
Ronnie Foster,
Clear Light,
The Music Machine,
Minny Pops,
Jeff Mills,
Los Fastidios,
Wire,
Hashim,
Organ,
The Residents,
Franke,
Sam Rivers,
Gil Scott-Heron and Jamie xx,
FM Einheit,
Flash Fearless,
The Gun Club,
Thompson Twins,
Faraquet,
Kurtis Blow,
The Dave Clark Five,
The Divine Comedy,
Vladislav Delay,
John Lydon,
Oblivians,
Y Pants,
Zero Boys,
Visionaries,LMNO, T- Love & Iriscience,
Juan Atkins,
The Walker Brothers,
Rosa Yemen,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.