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 Portugal 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 1968 to 1973.
I'm losing my edge.
To all the kids in Delhi and Lille.
I'm losing my edge to the art-school Winnipeg 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 organ 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 Michelle Simonal to the jazz kids.
I played it at the Roxy.
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 10cc. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every DNA record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Gil Scott-Heron & Brian Jackson,
the Germs,
Suburban Knight,
Rhythm & Sound,
Crooked Eye,
The Last Poets,
Orchestral Manoeuvres in the Dark,
The Real Kids,
The Cowsills,
The Music Machine,
Scott Walker,
Saccharine Trust,
Sällskapet,
The Electric Prunes,
Roy Ayers Ubiquity,
Flash Fearless,
a-ha,
Japan,
Jeff Lynne,
Funkadelic,
Tubeway Army,
The Birthday Party,
Wighnomy Brothers & Robag Wruhme,
kango's stein massive,
The Flesh Eaters,
The Red Krayola,
Rapeman,
B.T. Express,
Be Bop Deluxe,
Pulsallama,
JFA,
Stiv Bators,
The Fortunes,
DJ Sneak,
Eric Dolphy,
Spandau Ballet,
Drexciya,
Maleditus Sound,
Louis and Bebe Barron,
Arcadia,
Mars,
Porter Ricks,
Dual Sessions,
Nick Fraelich,
Slick Rick,
Sparks,
Oppenheimer Analysis,
These Immortal Souls,
Liliput,
The Stooges,
Y Pants,
Jawbox,
the Association,
Morten Harket,
K-Klass,
The Dave Clark Five,
The Young Rascals,
Ponytail,
Sam Rivers,
Sexual Harrassment,
The Sisters of Mercy,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.