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 Papua New Guinea and from Manila.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Stockholm.
I'm losing my edge to the art-school Portland 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Monolake to the disco kids.
I played it at the Crocodile.
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 Mark Hollis. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Crispian St. Peters 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aural Exciters record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
The Modern Lovers,
Ohio Players,
The Barracudas,
Louis and Bebe Barron,
Selector Dub Narcotic,
The Monks,
Con Funk Shun,
Kauko Röyhkä ja Narttu,
Siouxsie and the Banshees,
Absolute Body Control,
Barry Ungar,
Sticky Fingaz feat. Raekwon,
Outsiders,
Robert Wyatt,
Sister Nancy,
Peter & Gordon,
The Wake,
Grandmaster Flash and the Furious Five,
Goldenarms,
Soft Machine,
Technova,
Ralphi Rosario,
Dual Sessions,
Jacques Brel,
the Fania All-Stars,
The J.B.'s,
Swell Maps,
Prince Buster,
Jerry Gold Smith,
Orchestral Manoeuvres in the Dark,
Glenn Branca,
Gang Gang Dance,
The Birthday Party,
Agent Orange,
Tommy Roe,
Radio Birdman,
Sad Lovers and Giants,
Deadbeat,
Eve St. Jones,
DJ Style,
Ossler,
Bad Manners,
Barrington Levy,
Country Joe & The Fish,
Bauhaus,
Essential Logic,
Rites of Spring,
Negative Approach,
E-Dancer,
Little Man,
The Sonics,
LL Cool J,
Boredoms,
Adolescents,
OOIOO,
Kevin Saunderson,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Fad Gadget,
The Gap Band,
Lalann, Lalann, Lalann, Lalann.
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.