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 Honduras 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 1963 to 1973.
I'm losing my edge.
To all the kids in Spokane and Spokane.
I'm losing my edge to the art-school Columbus 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 1976 at the first Wire practice in a loft in Watford.
I was working on the rhodes 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 Hashim 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 Pylon. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Dual Sessions,
Joyce Sims,
Wings,
Make Up,
Agitation Free,
Davy DMX,
Rapeman,
Tropical Tobacco,
Ralphi Rosario,
The Fortunes,
Nils Olav,
Joe Smooth,
Interpol,
The Misunderstood,
Glenn Branca,
Larry & the Blue Notes,
Tubeway Army,
Howard Jones,
Kevin Saunderson,
Excepter,
Aural Exciters,
Dawn Penn,
N.O.R.E. Featuring Pharrell,
Bobby Byrd,
Con Funk Shun,
Deepchord,
Sunsets and Hearts,
Country Teasers,
Soft Cell,
Kaleidoscope,
Neil Young,
Popol Vuh,
Faust,
Danielle Patucci,
Supertramp,
Subhumans,
Gil Scott-Heron & Brian Jackson,
Eli Mardock,
Harmonia,
Pantaleimon,
The Cure,
Gang of Four,
Harpers Bizarre,
Andrew Hill,
Shoche,
Jeff Lynne,
Pulsallama,
Josef K,
Beasts of Bourbon,
MC5,
Kayak,
Sight & Sound,
Notorious Big And Bone Thugs,
The Modern Lovers,
Bobby Womack,
Pylon,
Avey Tare & Kría Brekkan,
Morten Harket,
Livin' Joy,
Bronski Beat,
The Last Poets,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.