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 Australia and from Mexico City.
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 1978.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the harpsichord 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 Infiniti to the dance 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 The Chocolate Watch Band. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Janne Schatter 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Angry Samoans record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Donny Hathaway,
Yaz,
Rapeman,
Fad Gadget,
Unwound,
Desert Stars,
London Community Gospel Choir,
Reuben Wilson,
10cc,
Liaisons Dangereuses,
Henry Cow,
Roy Ayers Ubiquity,
Dead Boys,
Second Layer,
AZ,
Television,
Eden Ahbez,
Basic Channel,
Ronan,
Bobby Womack,
Mo-Dettes,
Newcleus,
Angry Samoans,
Sister Nancy,
Outsiders,
Stockholm Monsters,
Bootsy's Rubber Band,
The Invisible,
Fat Boys,
The Fall,
Vladislav Delay,
The Seeds,
Wings,
Gong,
Bad Manners,
Deepchord,
Nico,
Dorothy Ashby,
Visionaries,LMNO, T- Love & Iriscience,
Boredoms,
Bobby Hutcherson,
The Cosmic Jokers,
Soulsonic Force,
The United States of America,
Magma,
Grey Daturas,
Johnny Osbourne,
Leonard Cohen,
Gang of Four,
The Velvet Underground,
Barclay James Harvest,
New Age Steppers,
Swell Maps,
Bill Near,
Rosa Yemen,
the Bar-Kays,
Pharaoh Sanders and the Fire Engines,
Sällskapet,
Vaughan Mason & Crew,
the Human League,
David Axelrod,
Skaos, Skaos, Skaos, Skaos.
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.