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 United Kingdom and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1979.
I'm losing my edge.
To all the kids in Bremen and Accra.
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 1979 at the first Second Layer practice in a loft in South London.
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 Rufus Thomas 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 Radio Birdman. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Lalann record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Gil Scott-Heron & Brian Jackson,
Los Fastidios,
The Golliwogs,
Mark Hollis,
Ash Ra Tempel,
The Vogues,
Underground Resistance,
Tres Demented,
Monks,
Procol Harum,
The Music Machine,
Brothers Johnson,
Goldenarms,
Tropical Tobacco,
Dawn Penn,
Mr. Review,
Lower 48,
Neu!,
Jesper Dahlback,
Bobby Womack,
Electric Light Orchestra,
Alice Coltrane,
Pere Ubu,
Adolescents,
Letta Mbulu,
Grauzone,
Henry Cow,
Sister Nancy,
Guru Guru,
The Divine Comedy,
Matthew Halsall,
Babytalk,
Stockholm Monsters,
Frankie Knuckles,
Carl Craig,
Black Flag,
Deadbeat,
Bronski Beat,
The Zeros,
Danielle Patucci,
Hasil Adkins,
The United States of America,
Pantytec,
The Fuzztones,
Skaos,
Absolute Body Control,
Fort Wilson Riot,
Sonic Youth,
Minnie Riperton,
Grandmaster Flash and the Furious Five,
Crash Course in Science,
The Jesus and Mary Chain,
Beasts of Bourbon,
Intrusion,
The J.B.'s,
The Electric Prunes,
Radio Birdman,
Sun Ra,
K-Klass,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.