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 Georgia and from Mexico City.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school New York 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 1978 at the first Visage practice in a loft in London.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 Massinfluence to the disco kids.
I played it at the Roxy.
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 Moleskins. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Rotary Connection 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
The Young Rascals,
Donald Byrd,
Nils Olav,
the Soft Cell,
These Immortal Souls,
the Fania All-Stars,
Roy Ayers,
Depeche Mode,
Khruangbin,
Black Pus,
Fela Kuti,
Godley & Creme,
The Misunderstood,
Sex Pistols,
Masters at Work,
Pharoah Sanders,
Aswad,
Leonard Cohen,
Kas Product,
Todd Terry,
Symarip,
Joensuu 1685,
Funky Four + One,
Hot Snakes,
Crooked Eye,
Sad Lovers and Giants,
Throbbing Gristle,
Robert Wyatt,
Chris Corsano,
The Fugs,
UT,
Bad Manners,
Television,
Niagra,
Robert Görl,
Gary Puckett & The Union Gap,
Parry Music,
Minnie Riperton,
Roger Hodgson,
Pierre Henry,
Rufus Thomas,
The Velvet Underground,
Skriet,
The Gap Band,
Scott Walker,
The Real Kids,
Slick Rick,
The Gories,
The Mighty Diamonds,
Neu!,
The Last Poets,
Minutemen,
Television Personalities,
Gil Scott-Heron and Jamie xx,
Andrew Ashong & Theo Parrish,
K-Klass,
Dual Sessions,
Ronan,
Thinking Fellers Union Local 282,
E-Dancer,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.