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 Macedonia and from Stockholm.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Milan and Sao Paulo.
I'm losing my edge to the art-school Accra 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 Bowie practice in a loft in Bromley.
I was working on the 808 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 The Associates to the punk kids.
I played it at the Astoria.
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 Moss Icon. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Pole record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a It's A Beautiful Day record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Radiopuhelimet,
Anakelly,
Kaleidoscope,
The Doobie Brothers,
Derrick Morgan,
Andrew Hill,
Sad Lovers and Giants,
Cybotron,
The Monochrome Set,
Bill Wells,
Terrestrial Tones,
the Swans,
Scott Walker + Sunn O))),
Wolf Eyes,
Masters at Work,
Public Enemy,
Crime,
New York Dolls,
Make Up,
Suburban Knight,
Alphaville,
Juan Atkins,
Organ,
Rosa Yemen,
Isaac Hayes,
Slick Rick,
Tears for Fears,
Brand Nubian,
Cabaret Voltaire,
The Black Dice,
Deakin,
The Monks,
Minny Pops,
X-Ray Spex,
Minnie Riperton,
Sound Behaviour,
The Peanut Butter Conspiracy,
Bizarre Inc.,
Moss Icon,
The Residents,
Mad Mike,
Icehouse,
Letta Mbulu,
Yusef Lateef,
Freddie Wadling,
Monolake,
The Dave Clark Five,
The Names,
Ultramagnetic MC's,
Angels of Light & Akron/Family,
Franke,
E-Dancer,
Wire,
H. Thieme,
Peter and Kerry,
Oppenheimer Analysis,
Section 25,
Neil Young & Crazy Horse,
Gang Green,
Flipper,
Skarface,
Public Image Ltd.,
Oblivians, Oblivians, Oblivians, Oblivians.
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.