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 Korea South and from Columbus.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Lagos and Delhi.
I'm losing my edge to the art-school Woodstock 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 marimba sounds with much patience.
I was there when Holger Czukay 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 Nation of Ulysses to the jazz kids.
I played it at the Astoria.
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 Mojo Men. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal grime 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 guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tubeway Army,
Ludus,
Eden Ahbez,
Marcia Griffiths,
Magazine,
Sound Behaviour,
Curtis Mayfield,
Kaleidoscope,
Faust,
Heaven 17,
Whodini,
Jerry Gold Smith,
Eli Mardock,
David McCallum,
Intrusion,
Mr. Review,
The Sound,
The Blackbyrds,
John Cale,
Andrew Hill,
Soft Cell,
The American Breed,
Symarip,
FM Einheit,
Kango’s Stein Massive,
Malaria!,
The Count Five,
Absolute Body Control,
Hardrive,
Brothers Johnson,
Joe Finger,
LL Cool J,
Kerri Chandler,
Moebius,
Aloha Tigers,
Can,
Cymande,
Susan Cadogan,
Gang Green,
Bobby Byrd,
Letta Mbulu,
The Neon Judgement,
UT,
The Young Rascals,
Darondo,
Shoche,
Sight & Sound,
Vaughan Mason & Crew,
Minor Threat,
Marc Romboy vs. Booka Shade,
Cameo,
Althea and Donna,
The Monks,
Radiohead,
Dead Boys,
Nils Olav,
Massinfluence,
Carl Craig,
Babytalk,
Rhythm & Sound,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.