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 Somalia 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 1960 to 1973.
I'm losing my edge.
To all the kids in Beijing and Mexico City.
I'm losing my edge to the art-school Bologna 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 David McCallum to the rap 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 Danielle Patucci. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Major Organ And The Adding Machine,
Young Marble Giants,
Donny Hathaway,
Neil Young,
Eden Ahbez,
Derrick May,
Mission of Burma,
Gil Scott-Heron & Brian Jackson,
The Fire Engines,
Masters at Work,
Stiv Bators,
Letta Mbulu,
Scrapy,
Joe Smooth,
Black Bananas,
Marvin Gaye,
A Flock of Seagulls,
Soft Cell,
David Bowie,
Stereo Dub,
Susan Cadogan,
Jandek,
Kayak,
Lou Christie,
Albert Ayler,
Heavy D & The Boyz,
The Gories,
The Associates,
Bad Manners,
Soul II Soul,
Röyhkä ja Rättö ja Lehtisalo,
Dark Day,
Jeff Lynne,
Popol Vuh,
Minnie Riperton,
Joyce Sims,
Scientists,
Subhumans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Harry Pussy,
Larry & the Blue Notes,
Maleditus Sound,
Ornette Coleman,
Sexual Harrassment,
F. McDonald,
Joy Division,
Wings,
Liaisons Dangereuses,
Darondo,
Cabaret Voltaire,
T. Rex,
Q65,
Super Lover Cee & Casanova Rud,
Reuben Wilson,
Desert Stars,
Bobbi Humphrey,
Franke,
ABBA,
Adolescents,
LL Cool J,
Curtis Mayfield,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.