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 Cape Verde and from Beijing.
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 1975.
I'm losing my edge.
To all the kids in Manchester and Tehran.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Gastr Del Sol to the rap kids.
I played it at Trash.
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 Throbbing Gristle. All the underground hits.
All Röyhkä ja Rättö ja Lehtisalo tracks. I heard you have a vinyl of every Inner City 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 '70s cut and another box set from the '80s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
The Barracudas,
Matthew Bourne,
Kerrie Biddell,
Lungfish,
B.T. Express,
Eyeless In Gaza,
The Stooges,
Nils Olav,
Dark Day,
Eli Mardock,
Technova,
The Real Kids,
The Gap Band,
Sarah Menescal,
La Düsseldorf,
Soft Cell,
Jacob Miller,
Bang on a Can All-Stars,
CMW,
Rhythm & Sound,
Crooked Eye,
Theoretical Girls,
Eurythmics,
The West Coast Pop Art Experimental Band,
Stetsasonic,
Schoolly D,
Bad Manners,
Lonnie Liston Smith,
Suburban Knight,
Siglo XX,
Scientists,
Louis and Bebe Barron,
Iggy Pop,
John Cale,
K-Klass,
Ornette Coleman,
Q and Not U,
Ice-T,
The Dead C,
Moebius,
Swell Maps,
Harmonia,
Traffic Nightmare,
Letta Mbulu,
New Age Steppers,
Joey Negro,
Rod Modell,
Magma,
The Doobie Brothers,
Delon & Dalcan,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sex Pistols,
Model 500,
Pole,
The Blues Magoos,
Aloha Tigers,
Kango’s Stein Massive,
Aswad,
Cybotron,
Jeff Mills,
Jeff Lynne,
Bob Dylan,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.