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 Czech Republic and from Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1966 to 1973.
I'm losing my edge.
To all the kids in New York and Tehran.
I'm losing my edge to the art-school Milan 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Q and Not U to the grime 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 Sandy B. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Dual Sessions 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence 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?
Peter Gordon & Love of Life Orchestra,
The American Breed,
Angels of Light & Akron/Family,
The Blackbyrds,
Visage,
Excepter,
Index,
Sly & The Family Stone,
Cymande,
David Axelrod,
Public Image Ltd.,
The Offenders,
Supertramp,
Deutsch Amerikanische Freundschaft,
Godley & Creme,
Glenn Branca,
Soul Sonic Force,
Slave,
Leonard Cohen,
Neu!,
Gerry Rafferty,
Gary Puckett & The Union Gap,
Major Organ And The Adding Machine,
AZ,
Alton Ellis,
The Knickerbockers,
Marine Girls,
Fad Gadget,
Main Source,
the Normal,
The Gap Band,
The Smoke,
Smog,
Bootsy Collins,
the Slits,
Cecil Taylor,
Audionom,
Accadde A,
Fifty Foot Hose,
Kas Product,
John Coltrane,
David Bowie,
Neil Young,
Nation of Ulysses,
D'Angelo,
Gang Gang Dance,
The Techniques,
John Foxx,
The Grass Roots,
Jimmy McGriff,
Anakelly,
8 Eyed Spy,
The Toasters,
Manfred Mann's Earth Band,
Louis and Bebe Barron,
Oppenheimer Analysis,
Flamin' Groovies,
Blancmange,
Derrick May,
Babytalk,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.