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 Italy and from Manila.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Salvador and Woodstock.
I'm losing my edge to the art-school Manchester 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 Can practice in a loft in Cologne.
I was working on the synthesizer 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 Bizarre Inc. to the disco kids.
I played it at the Astoria.
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 Heavy D & The Boyz. All the underground hits.
All Lightning Bolt tracks. I heard you have a vinyl of every Electric Light Orchestra 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Todd Terry,
The Motions,
Lucky Dragons,
Black Pus,
Duran Duran,
Moss Icon,
Ultravox,
Cecil Taylor,
Television Personalities,
Avey Tare & Kría Brekkan,
Mary Jane Girls,
Minnie Riperton,
Pharaoh Sanders and the Fire Engines,
Harpers Bizarre,
Arcadia,
L. Decosne,
Pantytec,
Yaz,
Ice-T,
Super Lover Cee & Casanova Rud,
OOIOO,
Brass Construction,
Maurizio,
Terry Callier,
Black Moon,
Junior Murvin,
Charles Mingus,
The Remains,
Rapeman,
Graham Central Station,
Stereo Dub,
Darondo,
Alice Coltrane,
Gang Gang Dance,
Leonard Cohen,
The Invisible,
Terrestrial Tones,
Public Image Ltd.,
Jawbox,
Bronski Beat,
Crispian St. Peters,
Danielle Patucci,
Shoche,
Kings Of Tomorrow,
Sly & The Family Stone,
Andrew Hill,
Richard Hell and the Voidoids,
Bad Manners,
Tommy Roe,
Alphaville,
Barry Ungar,
Y Pants,
Drive Like Jehu,
Aural Exciters,
The Knickerbockers,
Amon Düül,
The Men They Couldn't Hang,
Country Teasers,
The Evens,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.