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 Vanuatu and from Hong Kong.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
I'm losing my edge to the art-school Tokyo 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 Josef K practice in a loft in Edinburgh.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Wally Richardson to the electroclash kids.
I played it at the 40 Watt.
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 Hashim. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Deutsch Amerikanische Freundschaft,
Underground Resistance,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Simply Red,
Pussy Galore,
Mandrill,
the Germs,
Swans,
Pylon,
Robert Wyatt,
Notorious Big And Bone Thugs,
H. Thieme,
Judy Mowatt,
Eden Ahbez,
New Age Steppers,
The Neon Judgement,
Fatback Band,
L. Decosne,
Larry & the Blue Notes,
Patti Smith,
Lee Hazlewood,
Sarah Menescal,
Pete Rock & C.L. Smooth,
The Mojo Men,
Mr. Review,
Todd Terry,
Nick Fraelich,
Boogie Down Productions,
Jesper Dahlback,
Bizarre Inc.,
Lou Reed & Metallica,
Jacob Miller,
Notorious BIG live in Amsterdam,
Glambeats Corp.,
The Alarm Clocks,
The Dave Clark Five,
The Cramps,
These Immortal Souls,
The Star Department,
MC5,
Marcia Griffiths,
Art Ensemble Of Chicago,
Outsiders,
Lyres,
D'Angelo,
Smog,
Oblivians,
Janne Schatter,
The Five Americans,
New York Dolls,
Mars,
Aswad,
The Last Poets,
Y Pants,
Bill Wells,
Das Ding,
Dark Day,
The Techniques,
The Peanut Butter Conspiracy,
Clear Light,
Bobby Byrd,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.