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 Chile and from Paris.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Salvador and Manila.
I'm losing my edge to the art-school Lille 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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer 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 Mission of Burma to the disco kids.
I played it at CBGB's.
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 Sun City Girls. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
Quando Quango,
Camron Feat. Memphis Bleek And Beenie Seigel,
Robert Görl,
Soft Machine,
Teenage Jesus and the Jerks,
Sister Nancy,
DNA,
Bad Manners,
Suburban Knight,
Wasted Youth,
Electric Prunes,
Tubeway Army,
The Mighty Diamonds,
Depeche Mode,
Cymande,
Man Eating Sloth,
Underground Resistance,
Richard Hell and the Voidoids,
James Chance & The Contortions,
Pierre Henry,
Rapeman,
LL Cool J,
The Moleskins,
Byron Stingily,
Heaven 17,
Harry Pussy,
Das Ding,
Frankie Knuckles,
Donald Byrd,
The American Breed,
Harpers Bizarre,
The Count Five,
Urselle,
Los Fastidios,
Judy Mowatt,
Bootsy Collins,
Warsaw,
Lafayette Afro Rock Band,
Brick,
Robert Hood,
Motorama,
Hoover,
Pantytec,
Roger Hodgson,
Roy Ayers,
Lou Christie,
Yaz,
Easy Going,
Drexciya,
Peter and Kerry,
The Neon Judgement,
Rahsaan Roland Kirk,
Television Personalities,
Quantec,
Supertramp,
Electric Light Orchestra,
Barclay James Harvest,
The Peanut Butter Conspiracy,
Parry Music,
Heavy D & The Boyz,
Skaos, Skaos, Skaos, Skaos.
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.