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 Montenegro and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Shanghai.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the organ 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 Alphaville to the jazz kids.
I played it at the Spitz.
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 Crispy Ambulance. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Pantytec 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Donald Byrd record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Royal Trux,
Traffic Nightmare,
Brand Nubian,
Brick,
Anthony Braxton,
Slave,
Nick Fraelich,
Shuggie Otis,
Harry Pussy,
David McCallum,
David Axelrod,
Oblivians,
London Community Gospel Choir,
Gil Scott-Heron and Jamie xx,
K-Klass,
The Techniques,
Rhythim Is Rhythim,
Mo-Dettes,
Radiohead,
Fad Gadget,
Rekid,
Monolake,
Rosa Yemen,
Oneida,
Sandy B,
The Angels of Light,
Sonny Sharrock,
Rowland S Howard / Lydia Lunch,
Minor Threat,
Sarah Menescal,
Deakin,
It's A Beautiful Day,
Fluxion,
Colin Newman,
Symarip,
Swans,
Bob Dylan,
Notorious Big And Bone Thugs,
Connie Case,
Nik Kershaw,
Gil Scott-Heron & Brian Jackson,
Darondo,
Excepter,
Gil Scott Heron,
New York Dolls,
Rites of Spring,
Be Bop Deluxe,
Jacques Brel,
Marcia Griffiths,
Radio Birdman,
Surgeon,
Dual Sessions,
Radiopuhelimet,
Dark Day,
Prince Buster,
The Move,
Patti Smith,
Aloha Tigers,
Gang of Four,
Ossler,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.