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 Kyrgyzstan and from Portland.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Bologna and Lagos.
I'm losing my edge to the art-school Hong Kong 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator 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 Pole to the crunk 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 Sugar Minott. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every These Immortal Souls record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Beau Brummels,
Lou Christie,
Monks,
The Real Kids,
Manfred Mann's Earth Band,
Sly & The Family Stone,
Kerrie Biddell,
Jacques Brel,
Bob Dylan,
Bobby Hutcherson,
Quantec,
T. Rex,
The Fire Engines,
Banda Bassotti,
Scientists,
Liaisons Dangereuses,
The Busters,
8 Eyed Spy,
John Coltrane,
Tom Boy,
Ash Ra Tempel,
Reuben Wilson,
The Durutti Column,
OOIOO,
The Shadows of Knight,
Spoonie Gee,
Red Lorry Yellow Lorry,
Electric Prunes,
Outsiders,
Sister Nancy,
Flash Fearless,
The Sound,
Jesper Dahlbäck,
Marine Girls,
Maleditus Sound,
Amon Düül II,
Andrew Ashong & Theo Parrish,
Aural Exciters,
Howard Jones,
Anthony Braxton,
the Bar-Kays,
Unrelated Segments,
Public Image Ltd.,
Thompson Twins,
Avey Tare,
Arab on Radar,
Fat Boys,
Yaz,
Model 500,
Accadde A,
Agent Orange,
Guru Guru,
Erasure,
Notorious Big And Bone Thugs,
David Axelrod,
Sällskapet,
Shoche,
Arthur Verocai,
The Young Rascals,
Young Marble Giants,
Q65,
Basic Channel,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.