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 Moldova and from Madrid.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
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 Bowie practice in a loft in Bromley.
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 John Coltrane to the disco kids.
I played it at the Hacienda.
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 Larry & the Blue Notes. All the underground hits.
All Funkadelic tracks. I heard you have a vinyl of every Scratch Acid record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Nik Kershaw record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Minnie Riperton,
Young Marble Giants,
Man Eating Sloth,
The Birthday Party,
Saccharine Trust,
Kerrie Biddell,
Franke,
Joy Division,
Fear,
The Doors,
The Alarm Clocks,
Sound Behaviour,
a-ha,
Lower 48,
Agent Orange,
Ten City,
Loose Ends,
Gastr Del Sol,
Super Lover Cee & Casanova Rud,
The Moody Blues,
Tubeway Army,
Surgeon,
Glambeats Corp.,
X-101,
Jesper Dahlback,
Peter & Gordon,
The Velvet Underground,
The Smiths,
Quadrant,
Altered Images,
Terrestrial Tones,
MC5,
Robert Görl,
Susan Cadogan,
Ken Boothe,
Blossom Toes,
Organ,
The Remains,
Wighnomy Brothers & Robag Wruhme,
ABC,
K-Klass,
Scrapy,
Infiniti,
Mantronix,
Derrick May,
Desert Stars,
Chris Corsano,
Jimmy McGriff,
Don Cherry,
Juan Atkins,
Technova,
Dual Sessions,
Traffic Nightmare,
Delta 5,
Darondo,
Art Ensemble Of Chicago,
Matthew Halsall,
Bad Manners,
Ultra Naté,
Throbbing Gristle,
Harry Pussy,
EPMD,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.