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 St Lucia and from Columbus.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1965 to 1979.
I'm losing my edge.
To all the kids in Manila and Stockholm.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Alice Coltrane to the dance kids.
I played it at CBGB's.
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 Model 500. All the underground hits.
All cv313 tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Robert Wyatt,
Schoolly D,
Underground Resistance,
The Index,
Nation of Ulysses,
Bad Manners,
Amon Düül,
Angry Samoans,
Brick,
Aloha Tigers,
A Certain Ratio,
The Names,
K-Klass,
The Selecter,
Scratch Acid,
Lebanon Hanover,
Toni Rubio,
Oppenheimer Analysis,
Barclay James Harvest,
Suburban Knight,
Wasted Youth,
Henry Cow,
Faraquet,
Shuggie Otis,
Kerrie Biddell,
The Gap Band,
Kurtis Blow,
Jeff Lynne,
Amon Düül II,
Echo & the Bunnymen,
Deadbeat,
Maurizio,
The Music Machine,
Bootsy's Rubber Band,
Angels of Light & Akron/Family,
Joe Finger,
Andrew Ashong & Theo Parrish,
Jimmy McGriff,
Interpol,
Bill Near,
H. Thieme,
The Fire Engines,
Alice Coltrane,
Cheater Slicks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jacob Miller,
ABBA,
Khruangbin,
Trumans Water,
China Crisis,
Youth Brigade,
Hardrive,
Gang Green,
The Monochrome Set,
The Remains,
Little Man,
Eric B and Rakim,
The Cramps,
Unrelated Segments,
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.