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 Spain and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Houston and Lagos.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Pet Shop Boys to the jazz 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 The Monks. All the underground hits.
All MDC tracks. I heard you have a vinyl of every Eli Mardock 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Sexual Harrassment,
The Detroit Cobras,
the Association,
Half Japanese,
Public Enemy,
John Holt,
Ajijia Myrayebe,
Nirvana,
Bang on a Can All-Stars,
Cameo,
The Five Americans,
Kool G Rap & DJ Polo,
Masters at Work,
Bootsy Collins,
In Retrospect,
Black Moon,
Manfred Mann's Earth Band,
Röyhkä ja Rättö ja Lehtisalo,
Drive Like Jehu,
Donny Hathaway,
The Mojo Men,
Richard Hell and the Voidoids,
One Last Wish,
Cybotron,
Mars,
Jerry Gold Smith,
Newcleus,
kango's stein massive,
Niagra,
The Shadows of Knight,
Bobby Hutcherson,
Hasil Adkins,
The Chocolate Watch Band,
Camberwell Now,
Young Marble Giants,
Jesper Dahlbäck,
Grandmaster Flash and the Furious Five,
Lou Reed & John Cale,
Hoover,
Pulsallama,
Mandrill,
Motorama,
Gang Starr,
Yaz,
The Alarm Clocks,
Bob Dylan,
The Index,
Altered Images,
Roy Ayers,
Suburban Knight,
Maleditus Sound,
Soft Cell,
Mad Mike,
Pole,
Gil Scott-Heron & Brian Jackson,
X-102,
Louis and Bebe Barron,
Eli Mardock,
Minor Threat,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.