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 Equatorial Guinea and from Copenhagen.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Bremen.
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 1968 at the first Bowie practice in a loft in Bromley.
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 Thompson Twins to the rock kids.
I played it at Trash.
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 Talk Talk. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
The Offenders,
Mars,
The Beau Brummels,
The J.B.'s,
Kauko Röyhkä ja Narttu,
T. Rex,
Arthur Verocai,
Derrick May,
Althea and Donna,
In Retrospect,
Sugar Minott,
Lou Christie,
Sonny Sharrock,
Moss Icon,
Boz Scaggs,
Quantec,
Lou Reed & Metallica,
John Coltrane,
Connie Case,
Boogie Down Productions,
Derrick Morgan,
Q and Not U,
Grandmaster Flash and the Furious Five,
The Cure,
The New Christs,
Stiv Bators,
This Heat,
Henry Cow,
Arcadia,
Harry Pussy,
Eden Ahbez,
The Peanut Butter Conspiracy,
ABC,
AZ,
The Alarm Clocks,
The Five Americans,
DJ Style,
Skarface,
The Fall,
John Foxx,
Jerry's Kids,
Colin Newman,
Massinfluence,
Siouxsie and the Banshees,
Sex Pistols,
Model 500,
Unwound,
Erasure,
Supertramp,
Rakim,
Lee Hazlewood,
Spandau Ballet,
Kango’s Stein Massive,
Das Ding,
Goldenarms,
L. Decosne,
Kool Moe Dee,
Bad Manners,
LL Cool J,
Essential Logic,
Moby Grape,
The Cramps, The Cramps, The Cramps, The Cramps.
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.