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 Afghanistan and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Paris and Calgary.
I'm losing my edge to the art-school New York 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Roger Hodgson to the disco kids.
I played it at the Troubador.
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 Echo & the Bunnymen. All the underground hits.
All AZ tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal techno 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 marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Spoonie Gee,
Robert Görl,
Wire,
Brass Construction,
The Angels of Light,
John Cale,
Country Joe & The Fish,
Pierre Henry,
The Last Poets,
Sparks,
Drive Like Jehu,
Camouflage,
The Offenders,
Kool G Rap & DJ Polo,
Radio Birdman,
Can,
Masters at Work,
Bobby Byrd,
Shuggie Otis,
Patti Smith,
The Count Five,
Soul Sonic Force,
The Blues Magoos,
Lucky Dragons,
Country Teasers,
Lower 48,
World's Most,
Grandmaster Flash and the Furious Five,
Nils Olav,
The Mojo Men,
Janne Schatter,
Clear Light,
Whodini,
Brothers Johnson,
Silicon Teens,
Wolf Eyes,
Bob Dylan,
Alice Coltrane,
DNA,
Ken Boothe,
H. Thieme,
The Real Kids,
The Cosmic Jokers,
Mad Mike,
Echospace,
The Five Americans,
8 Eyed Spy,
the Slits,
Bobby Womack,
Neil Young,
Todd Rundgren,
Moss Icon,
Crash Course in Science,
Scott Walker,
Boogie Down Productions,
Vainqueur,
Orchestral Manoeuvres in the Dark,
Deutsch Amerikanische Freundschaft,
The Searchers,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.