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 Algeria and from Glasgow.
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 1979.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Stockholm 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 spring reverb 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 Charles Mingus to the techno 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 Pet Shop Boys. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every The Human League 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Chris Corsano,
Red Lorry Yellow Lorry,
Soft Machine,
Ultramagnetic MC's,
Grandmaster Flash and the Furious Five,
The Jesus and Mary Chain,
The Royal Family And The Poor,
Cameo,
Basic Channel,
Scan 7,
Ronan,
The Vogues,
L. Decosne,
Cluster,
The Slackers,
Morten Harket,
Susan Cadogan,
Andrew Ashong & Theo Parrish,
Brass Construction,
Peter & Gordon,
Art Ensemble Of Chicago,
Judy Mowatt,
Sugar Minott,
Sparks,
Johnny Clarke,
The Neon Judgement,
Circle Jerks,
Jeru the Damaja,
ABC,
Vladislav Delay,
Tim Buckley,
The J.B.'s,
F. McDonald,
Scientists,
Cal Tjader,
CMW,
Quando Quango,
Man Eating Sloth,
Can,
Cabaret Voltaire,
Nick Fraelich,
Sound Behaviour,
The American Breed,
Thinking Fellers Union Local 282,
Minor Threat,
Sam Rivers,
Khruangbin,
Yaz,
The Golliwogs,
Avey Tare,
Nick Cave & The Bad Seeds,
Ralphi Rosario,
Bang On A Can,
Fugazi,
Simply Red,
Lalo Schifrin,
The Sonics,
Tubeway Army,
June of 44,
China Crisis,
Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band, Captain Beefheart & His Magic Band.
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.