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 Serbia and from Sao Paulo.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro 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 Soft Machine to the disco 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 Young Marble Giants. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Blancmange 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 '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Soft Cell,
Boogie Down Productions,
Bobby Sherman,
Urselle,
James Chance & The Contortions,
Whodini,
Procol Harum,
Eric Copeland,
Idris Muhammad,
Mission of Burma,
Aaron Thompson,
Red Lorry Yellow Lorry,
La Düsseldorf,
The Index,
Sonic Youth,
Panda Bear,
Joey Negro,
The Seeds,
David McCallum,
Freddie Wadling,
Monks,
Piero Umiliani,
Röyhkä ja Rättö ja Lehtisalo,
Grandmaster Flash,
Barrington Levy,
Soul Sonic Force,
Major Organ And The Adding Machine,
The Real Kids,
Intrusion,
Darondo,
John Holt,
Altered Images,
Minnie Riperton,
AZ,
Eli Mardock,
The Cosmic Jokers,
Television,
Franke,
Scott Walker,
Sound Behaviour,
Man Parrish,
Roger Hodgson,
L. Decosne,
Thee Headcoats,
Bronski Beat,
Neu!,
Frankie Knuckles,
Jimmy McGriff,
Schoolly D,
Camouflage,
Pere Ubu,
Slave,
Ituana,
Sam Rivers,
Soul II Soul,
Roy Ayers,
Throbbing Gristle,
Icehouse,
Spoonie Gee,
Pulsallama,
UT, UT, UT, UT.
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.