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 Malaysia and from Cairo.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Cairo and Delhi.
I'm losing my edge to the art-school Glasgow 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 Soft Boys practice in a loft in Cambridge.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Japan to the grime kids.
I played it at Trash.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Gichy Dan,
Peter Gordon & Love of Life Orchestra,
X-101,
Strawberry Alarm Clock,
The Names,
Skaos,
Alison Limerick,
Barry Ungar,
Monolake,
The Raincoats,
Robert Wyatt,
Vladislav Delay,
Soul Sonic Force,
Iggy Pop,
The Gap Band,
Judy Mowatt,
Kerri Chandler,
Joey Negro,
Matthew Halsall,
Electric Prunes,
Radio Birdman,
This Heat,
Eric Copeland,
Rhythim Is Rhythim,
Kenny Larkin,
Visage,
Sly & The Family Stone,
Pet Shop Boys,
Kayak,
Scrapy,
Cabaret Voltaire,
The Blackbyrds,
Sex Pistols,
L. Decosne,
Thinking Fellers Union Local 282,
Bobby Sherman,
The Move,
Blossom Toes,
Fort Wilson Riot,
Surgeon,
Moss Icon,
Jerry's Kids,
Rhythm & Sound,
Zapp,
Gian Franco Pienzio,
Black Bananas,
Donny Hathaway,
Todd Rundgren,
DJ Style,
London Community Gospel Choir,
Marcia Griffiths,
Camberwell Now,
Khruangbin,
Rotary Connection,
Magazine,
Heaven 17,
Tim Buckley,
Agent Orange,
Bang on a Can All-Stars,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.