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 Gambia and from Seoul.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Paris and Shanghai.
I'm losing my edge to the art-school Beijing 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Donald Fagen 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 Invisible to the disco kids.
I played it at the Roxy.
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 Soft Machine. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every The American Breed record on German import.
I heard that you have a white label of every seminal disco 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 harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sällskapet record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Big Daddy Kane,
Moebius,
Wolf Eyes,
Barbara Tucker,
Japan,
New York Dolls,
Livin' Joy,
Andrew Hill,
Deepchord,
These Immortal Souls,
The Index,
Tres Demented,
Barry Ungar,
Suicide,
Amon Düül,
Second Layer,
Jacob Miller,
The Men They Couldn't Hang,
Los Fastidios,
The Motions,
Ken Boothe,
Model 500,
The Associates,
The Fire Engines,
Banda Bassotti,
Crispian St. Peters,
Robert Hood,
Excepter,
Ajijia Myrayebe,
Kerrie Biddell,
Radiopuhelimet,
Swans,
Sixth Finger,
The Five Americans,
Reuben Wilson,
Ultra Naté,
Ultimate Spinach,
The Monks,
The Smoke,
Essential Logic,
Tubeway Army,
Cluster,
Richard Hell and the Voidoids,
Delon & Dalcan,
Donald Byrd,
One Last Wish,
Faraquet,
Das Ding,
Lou Reed & Metallica,
The Young Rascals,
Archie Shepp,
Tommy Roe,
Roger Hodgson,
Sly & The Family Stone,
Arthur Verocai,
Jeru the Damaja,
Television,
The Grass Roots,
The Blues Magoos,
Mandrill,
Make Up,
Johnny Osbourne, Johnny Osbourne, Johnny Osbourne, Johnny Osbourne.
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.