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 Sudan and from Mumbai.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Manila and Mexico City.
I'm losing my edge to the art-school Portland 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 chamberlin 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 Crispian St. Peters to the dance 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 Saccharine Trust. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Sound Behaviour record on German import.
I heard that you have a white label of every seminal rap 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a EPMD record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Robert Görl,
The Electric Prunes,
The Music Machine,
Red Lorry Yellow Lorry,
Rhythm & Sound,
The Mighty Diamonds,
The Stooges,
The Invisible,
Fela Kuti,
Ten City,
Black Sheep,
The United States of America,
Yusef Lateef,
Steve Hackett,
Harpers Bizarre,
Soulsonic Force,
Suicide,
Glambeats Corp.,
The Pop Group,
Orchestral Manoeuvres in the Dark,
Bang On A Can,
Schoolly D,
Cameo,
Oneida,
Saccharine Trust,
Glenn Branca,
De La Soul & Jungle Brothers,
Ituana,
Lou Christie,
The Cramps,
Alphaville,
Ultimate Spinach,
Bang on a Can All-Stars,
Neil Young,
Eden Ahbez,
Nirvana,
The West Coast Pop Art Experimental Band,
Arcadia,
Vladislav Delay,
The Five Americans,
The Techniques,
Yellowson,
Sam Rivers,
The Blues Magoos,
Spandau Ballet,
Black Pus,
Metal Thangz,
Tropical Tobacco,
Tubeway Army,
PIL,
Nils Olav,
The Fortunes,
Barry Ungar,
Ash Ra Tempel,
Accadde A,
Donny Hathaway,
H. Thieme,
Ken Boothe,
Aaron Thompson,
Pole,
Curtis Mayfield,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.