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 Swaziland and from Milan.
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 1974.
I'm losing my edge.
To all the kids in Jakarta and Jakarta.
I'm losing my edge to the art-school Philadelphia 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the 808 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 Sixth Finger to the rap kids.
I played it at the Hacienda.
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 Todd Rundgren. All the underground hits.
All Boz Scaggs tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Ultramagnetic MC's,
Blake Baxter,
Eurythmics,
Cabaret Voltaire,
Unrelated Segments,
FM Einheit,
Fela Kuti,
Crispy Ambulance,
Theoretical Girls,
Visionaries,LMNO, T- Love & Iriscience,
Scientists,
The Gap Band,
Johnny Osbourne,
Tom Boy,
Das Ding,
Ronnie Foster,
The Buckinghams,
Jacques Brel,
Danielle Patucci,
Qualms,
Slave,
London Community Gospel Choir,
The Mighty Diamonds,
Sex Pistols,
Roy Ayers Ubiquity,
Black Pus,
The Walker Brothers,
Pet Shop Boys,
Sonic Youth,
Amon Düül,
E-Dancer,
Model 500,
Zapp,
Heaven 17,
Alison Limerick,
Tropical Tobacco,
The Stooges,
The Flesh Eaters,
Roy Ayers,
Deadbeat,
In Retrospect,
Eric Copeland,
Nas,
Nico,
Vladislav Delay,
Spoonie Gee,
Echospace,
Throbbing Gristle,
David McCallum,
Art Ensemble Of Chicago,
Gichy Dan,
Blossom Toes,
Rosa Yemen,
Quando Quango,
The Smiths,
David Bowie,
Barclay James Harvest,
Masters at Work,
the Bar-Kays,
Jerry Gold Smith,
Dead Boys,
ABC, ABC, ABC, ABC.
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.