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 Grenada and from Mexico City.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1977.
I'm losing my edge.
To all the kids in New York and Taipei.
I'm losing my edge to the art-school Columbus 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Scientists to the grime 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 FM Einheit. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Jerry Gold Smith record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Ultramagnetic MC's,
the Soft Cell,
DNA,
Strawberry Alarm Clock,
Notorious BIG live in Amsterdam,
The Wake,
Sound Behaviour,
Ludus,
Cabaret Voltaire,
Alphaville,
A Certain Ratio,
The Five Americans,
Bootsy Collins,
Kerri Chandler,
Zero Boys,
Deadbeat,
The J.B.'s,
Bob Dylan,
Ronan,
Amazonics,
Don Cherry,
Spandau Ballet,
Moebius,
Marine Girls,
Robert Görl,
Arthur Verocai,
The Beau Brummels,
Camron Feat. Memphis Bleek And Beenie Seigel,
Masters at Work,
June Days,
The Dead C,
Nik Kershaw,
Roy Ayers,
Electric Prunes,
Deakin,
Notorious Big And Bone Thugs,
Soul Sonic Force,
The Martian,
the Human League,
Monks,
Alice Coltrane,
Wings,
Electric Light Orchestra,
Lafayette Afro Rock Band,
Aaron Thompson,
Popol Vuh,
Todd Terry,
Kool G Rap & DJ Polo,
Banda Bassotti,
Silicon Teens,
Fatback Band,
Bobbi Humphrey,
Average White Band,
Darondo,
the Fania All-Stars,
Curtis Mayfield,
Schoolly D,
Gabor Szabo,
Visionaries,LMNO, T- Love & Iriscience,
Drive Like Jehu,
Babytalk, Babytalk, Babytalk, Babytalk.
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.