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 South Africa and from Salvador.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Sao Paulo 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Black Sheep to the dance 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 Roy Ayers. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every The Gories 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Notorious BIG live in Amsterdam,
Peter & Gordon,
Quantec,
Slick Rick,
Theoretical Girls,
Franke,
Von Mondo,
Oppenheimer Analysis,
The Durutti Column,
The Litter,
Soft Machine,
Massinfluence,
JFA,
Fifty Foot Hose,
The Blues Magoos,
Rufus Thomas,
Mars,
Brass Construction,
Rosa Yemen,
The United States of America,
Groovy Waters,
Jimmy McGriff,
Marc Romboy vs. Booka Shade,
Ronnie Foster,
EPMD,
Con Funk Shun,
Faraquet,
Talk Talk,
Nils Olav,
Amon Düül II,
The Martian,
Underground Resistance,
Kool G Rap & DJ Polo,
Gang of Four,
Public Image Ltd.,
Main Source,
The West Coast Pop Art Experimental Band,
Banda Bassotti,
Orchestral Manoeuvres in the Dark,
Dave Gahan,
The Dead C,
In Retrospect,
Bronski Beat,
Panda Bear,
cv313,
Peter and Kerry,
The Skatalites,
David Axelrod,
Nirvana,
La Düsseldorf,
Peter Gordon & Love of Life Orchestra,
Gastr Del Sol,
Kerrie Biddell,
the Swans,
Nas,
The Cosmic Jokers,
Thompson Twins,
Sex Pistols,
The Knickerbockers,
Deakin,
Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines, Pharaoh Sanders and the Fire Engines.
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.