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 Calgary.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1971.
I'm losing my edge.
To all the kids in Edmonton and Lille.
I'm losing my edge to the art-school Stockholm 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 güiro sounds with much patience.
I was there when David Bowie 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 Piero Umiliani to the grime kids.
I played it at the Troubador.
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 Stetsasonic. All the underground hits.
All Dark Day tracks. I heard you have a vinyl of every Ken Boothe 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerrie Biddell,
Bad Manners,
La Düsseldorf,
The Associates,
Babytalk,
Depeche Mode,
Ice-T,
Grandmaster Flash,
The Cramps,
Rhythm & Sound,
Index,
Pharaoh Sanders and the Fire Engines,
Outsiders,
Louis and Bebe Barron,
Wire,
Kauko Röyhkä ja Narttu,
Dawn Penn,
Gil Scott-Heron & Brian Jackson,
Carl Craig,
Sister Nancy,
Richard Hell and the Voidoids,
A Flock of Seagulls,
Echo & the Bunnymen,
The Skatalites,
Royal Trux,
Lou Christie,
Lakeside,
Sarah Menescal,
Model 500,
Marmalade,
John Foxx,
Lyres,
Gil Scott Heron,
The Motions,
Matthew Bourne,
Sixth Finger,
Laurel Aitken,
The Seeds,
The Busters,
Skaos,
Stereo Dub,
The Selecter,
Pet Shop Boys,
Chris Corsano,
Symarip,
Flash Fearless,
Ken Boothe,
The Last Poets,
Ultra Naté,
Minutemen,
Groovy Waters,
Slave,
Scott Walker + Sunn O))),
Arthur Verocai,
The Standells,
DNA,
Pere Ubu,
Mission of Burma,
10cc,
Liaisons Dangereuses,
Oblivians,
Saccharine Trust,
The Doors,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.