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 El Salvador and from Shanghai.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Tehran and Portland.
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 Second Layer practice in a loft in South London.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 8 Eyed Spy to the disco kids.
I played it at Trash.
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 Eurythmics. All the underground hits.
All Can tracks. I heard you have a vinyl of every Aural Exciters 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Godley & Creme,
Jeru the Damaja,
Electric Light Orchestra,
The Modern Lovers,
Juan Atkins,
Slave,
Grauzone,
The Beau Brummels,
Rufus Thomas,
Robert Hood,
Archie Shepp,
The Doors,
Strawberry Alarm Clock,
Bad Manners,
Marshall Jefferson,
Terrestrial Tones,
Jesper Dahlbäck,
Unrelated Segments,
Donald Byrd,
Colin Newman,
Technova,
Magazine,
The Techniques,
Curtis Mayfield,
Kool G Rap & DJ Polo,
Roxette,
Toni Rubio,
Maurizio,
the Association,
Con Funk Shun,
Liliput,
Masters at Work,
Camouflage,
Reuben Wilson,
The Index,
Delon & Dalcan,
Fort Wilson Riot,
Buzzcocks,
Scratch Acid,
Pantaleimon,
Charles Mingus,
Ludus,
Spandau Ballet,
Radiohead,
Ossler,
Justin Hinds & The Dominoes,
Kool Moe Dee,
Bluetip,
Sound Behaviour,
Pete Rock & C.L. Smooth,
Stetsasonic,
Graham Central Station,
Crooked Eye,
the Soft Cell,
Easy Going,
Fela Kuti,
Pulsallama,
Bang On A Can,
Amon Düül II,
The Selecter,
Rahsaan Roland Kirk,
The Gories, The Gories, The Gories, The Gories.
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.