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 Gambia and from Calgary.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Winnipeg and Salvador.
I'm losing my edge to the art-school Hong Kong 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 1984 at the first Arcadia practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Amon Düül to the rock kids.
I played it at the Roxy.
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 The Wake. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Janne Schatter record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Soul Sonic Force,
Roxy Music,
Lebanon Hanover,
Quadrant,
Ornette Coleman,
Aswad,
DJ Style,
The Victims,
David Axelrod,
Johnny Osbourne,
Ponytail,
Fad Gadget,
Steve Hackett,
Brick,
Glambeats Corp.,
Throbbing Gristle,
The Knickerbockers,
H. Thieme,
Marshall Jefferson,
June of 44,
Half Japanese,
John Holt,
The Pretty Things,
Colin Newman,
Mantronix,
Buzzcocks,
Reuben Wilson,
Orchestral Manoeuvres in the Dark,
Jeru the Damaja,
Soft Cell,
Hashim,
Sugar Minott,
Boredoms,
The Blues Magoos,
Fela Kuti,
In Retrospect,
Rosa Yemen,
Kaleidoscope,
The Zeros,
The Young Rascals,
DNA,
Moebius,
Icehouse,
Gil Scott-Heron and Jamie xx,
The Offenders,
Soft Machine,
Inner City,
Spoonie Gee,
Mandrill,
The Men They Couldn't Hang,
The Sound,
Accadde A,
CMW,
Carl Craig,
ABBA,
the Association,
Parry Music,
Country Teasers,
Massinfluence,
Infiniti,
Todd Terry,
EPMD,
The Last Poets,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.