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 Mauritania and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Edmonton 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 sitar 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 Camron Feat. Memphis Bleek And Beenie Seigel to the rock kids.
I played it at the Spitz.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Lyres tracks. I heard you have a vinyl of every Bizarre Inc. 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
Spandau Ballet,
Maleditus Sound,
Thee Headcoats,
Masters at Work,
The Dead C,
R.M.O.,
The Royal Family And The Poor,
The Star Department,
New Age Steppers,
The Move,
Archie Shepp,
Essential Logic,
Marc Almond,
Porter Ricks,
Faust,
Sad Lovers and Giants,
Nation of Ulysses,
Kauko Röyhkä ja Narttu,
10cc,
The Tremeloes,
Nirvana,
Gichy Dan,
The Detroit Cobras,
Dorothy Ashby,
DNA,
Notorious BIG live in Amsterdam,
The Five Americans,
The Divine Comedy,
The Moleskins,
Sun Ra Arkestra,
Kerri Chandler,
Black Flag,
Marc Romboy vs. Booka Shade,
Slick Rick,
Lou Reed & Metallica,
Siglo XX,
Q and Not U,
Agitation Free,
The Gap Band,
Radiopuhelimet,
Lou Reed & John Cale,
Derrick Morgan,
The Count Five,
Echo & the Bunnymen,
La Düsseldorf,
Amon Düül II,
Sun Ra,
Bad Manners,
The Victims,
The Pop Group,
The Velvet Underground,
Television,
Little Man,
The Misunderstood,
Crispian St. Peters,
Siouxsie and the Banshees,
Radiohead,
Tommy Roe,
Gil Scott-Heron & Brian Jackson,
Robert Wyatt,
Second Layer, Second Layer, Second Layer, Second Layer.
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.