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 Iran and from Mumbai.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Madrid.
I'm losing my edge to the art-school Milan 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Gil Scott-Heron and Jamie xx to the punk kids.
I played it at Cafe Wha.
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 The Invisible. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
Hardrive,
Fatback Band,
Ultra Naté,
Quantec,
Swans,
Derrick Morgan,
Altered Images,
Ronnie Foster,
Thee Headcoats,
The Remains,
Colin Newman,
Camberwell Now,
Radiohead,
Roy Ayers,
Country Teasers,
Bang On A Can,
Big Daddy Kane,
The United States of America,
Super Lover Cee & Casanova Rud,
Henry Cow,
New York Dolls,
Graham Central Station,
June Days,
Section 25,
The Residents,
U.S. Maple,
Fifty Foot Hose,
the Swans,
Neu!,
Newcleus,
The Dead C,
the Bar-Kays,
Liaisons Dangereuses,
Talk Talk,
David Bowie,
Q65,
Captain Beefheart & His Magic Band,
Electric Light Orchestra,
The Saints,
The Gap Band,
The Skatalites,
Rod Modell,
Notorious Big And Bone Thugs,
Tubeway Army,
Bill Near,
Nick Fraelich,
Bronski Beat,
Scion,
Flash Fearless,
Avey Tare's Slasher Flicks,
the Human League,
Urselle,
kango's stein massive,
The Black Dice,
John Coltrane,
Pete Rock & C.L. Smooth,
Duran Duran,
Quadrant, Quadrant, Quadrant, Quadrant.
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.