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 France and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Halifax.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the oboe 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 The Cowsills to the punk 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 Girls At Our Best!. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Derrick Morgan,
Cal Tjader,
Interpol,
Spandau Ballet,
Talk Talk,
The Golliwogs,
Nation of Ulysses,
Nik Kershaw,
Gichy Dan,
Jeru the Damaja,
Mandrill,
Alton Ellis,
Lalo Schifrin,
Art Ensemble Of Chicago,
the Human League,
Infiniti,
Scrapy,
the Fania All-Stars,
Chrome,
The Smiths,
OOIOO,
Wings,
Kings Of Tomorrow,
Kerri Chandler,
Richard Hell and the Voidoids,
The Wake,
Kas Product,
Popol Vuh,
X-101,
Mission of Burma,
Von Mondo,
The Offenders,
The Sound,
Chris Corsano,
Schoolly D,
Public Image Ltd.,
Sarah Menescal,
Index,
Gang Green,
Anthony Braxton,
LL Cool J,
Scott Walker + Sunn O))),
Mars,
Blancmange,
Delon & Dalcan,
Ice-T,
The Fire Engines,
Jeff Mills,
Pylon,
Maleditus Sound,
The Doobie Brothers,
Matthew Halsall,
The Peanut Butter Conspiracy,
Ash Ra Tempel,
Erykah Badu,
Crooked Eye,
Aural Exciters,
Anakelly,
The Techniques,
Public Enemy,
the Normal,
The Pretty Things, The Pretty Things, The Pretty Things, The Pretty Things.
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.