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 Venezuela and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Lyon and Shanghai.
I'm losing my edge to the art-school Halifax 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 organ 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 Essential Logic to the funk kids.
I played it at the Roxy.
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 Bootsy Collins. All the underground hits.
All Flamin' Groovies tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan 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 '50s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Sparks,
Notorious Big And Bone Thugs,
Arab on Radar,
Vainqueur,
The Martian,
The Stooges,
Gian Franco Pienzio,
DJ Sneak,
Juan Atkins,
Tommy Roe,
Tom Boy,
Aaron Thompson,
Manfred Mann's Earth Band,
Stetsasonic,
Barbara Tucker,
The Mighty Diamonds,
Magma,
MDC,
Captain Beefheart & His Magic Band,
the Bar-Kays,
Simply Red,
Ultravox,
The Velvet Underground,
Patti Smith,
Max Romeo,
Minutemen,
The Remains,
Don Cherry,
Sun Ra Arkestra,
Flash Fearless,
Johnny Clarke,
The Vogues,
Radiopuhelimet,
The Gun Club,
Alphaville,
Dual Sessions,
Shoche,
Althea and Donna,
Vladislav Delay,
Stiv Bators,
Newcleus,
Marcia Griffiths,
Flipper,
Kerrie Biddell,
Donald Byrd,
Reuben Wilson,
Bobby Sherman,
Andrew Hill,
The Residents,
Darondo,
Massinfluence,
Eric Dolphy,
Henry Cow,
The Detroit Cobras,
Bobbi Humphrey,
Slick Rick,
Jimmy McGriff,
Echospace,
The Chocolate Watch Band,
In Retrospect,
Terrestrial Tones,
Angels of Light & Akron/Family,
Fort Wilson Riot,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.