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 Maldives and from Lyon.
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 1962 to 1975.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school Taipei 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 808 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 Tomorrow to the crunk kids.
I played it at the 40 Watt.
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 Kenny Larkin. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Hoover 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Beau Brummels record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Simply Red,
Harpers Bizarre,
Rites of Spring,
James Chance & The Contortions,
Terrestrial Tones,
Judy Mowatt,
Peter & Gordon,
The Doors,
Metal Thangz,
A Flock of Seagulls,
Lou Reed & John Cale,
Outsiders,
Ohio Players,
Lalann,
Gang of Four,
Marc Romboy vs. Booka Shade,
Scratch Acid,
Derrick May,
Accadde A,
Slick Rick,
Jandek,
Robert Hood,
Larry & the Blue Notes,
Section 25,
Aloha Tigers,
Au Pairs,
Kool Moe Dee,
Agent Orange,
The Techniques,
Franke,
Sun City Girls,
The Last Poets,
Jeru the Damaja,
Funkadelic,
Brothers Johnson,
Visionaries,LMNO, T- Love & Iriscience,
Terry Callier,
Sun Ra,
Harmonia,
Al Stewart,
Bootsy's Rubber Band,
Delta 5,
The Five Americans,
Nation of Ulysses,
Negative Approach,
Arab on Radar,
Camron Feat. Memphis Bleek And Beenie Seigel,
Joy Division,
The Slackers,
Nils Olav,
Howard Jones,
Minutemen,
Terror Squad Feat. Camron,
L. Decosne,
Chris & Cosey,
Echospace,
Faust,
Zero Boys,
Sugar Minott,
Angels of Light & Akron/Family,
E-Dancer,
The Smoke, The Smoke, The Smoke, The Smoke.
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.