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 Congo and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Mexico City 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the clarinet sounds with much patience.
I was there when Captain Beefheart 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 Ultra Naté to the grunge 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 Massinfluence. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal techno 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Byrd,
the Bar-Kays,
David McCallum,
Marshall Jefferson,
Colin Newman,
London Community Gospel Choir,
Quadrant,
Moss Icon,
The Star Department,
Bootsy Collins,
Connie Case,
Dark Day,
Graham Central Station,
Television,
Pharaoh Sanders and the Fire Engines,
Scratch Acid,
The Grass Roots,
Lindisfarne,
Mary Jane Girls,
Royal Trux,
Nas,
Sonic Youth,
The Gap Band,
The Chocolate Watch Band,
Dorothy Ashby,
Nils Olav,
Kerri Chandler,
The Walker Brothers,
Slick Rick,
Suicide,
The Trojans,
Fluxion,
Josef K,
KRS-One,
Richard Hell and the Voidoids,
Barclay James Harvest,
Don Cherry,
The West Coast Pop Art Experimental Band,
Soul II Soul,
Lafayette Afro Rock Band,
Johnny Osbourne,
Panda Bear,
Cheater Slicks,
Marc Romboy vs. Booka Shade,
Neil Young & Crazy Horse,
The Flesh Eaters,
Throbbing Gristle,
Gil Scott Heron,
The Moody Blues,
Wings,
Spandau Ballet,
DJ Style,
Lizzy Mercier Descloux,
The Litter,
The New Christs,
Von Mondo,
Unrelated Segments,
Popol Vuh,
The Moleskins,
Mark Hollis,
John Coltrane,
Los Fastidios,
Massinfluence,
Subhumans, Subhumans, Subhumans, Subhumans.
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.