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 Guatemala and from Madrid.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
I'm losing my edge to the art-school Madrid 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 theremin sounds with much patience.
I was there when Michael McDonald 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 EPMD to the dance kids.
I played it at Cafe Wha.
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 Kayak. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every The Wake record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Roy Ayers Ubiquity,
Bang On A Can,
R.M.O.,
Sex Pistols,
Chris & Cosey,
Underground Resistance,
Rapeman,
Tomorrow,
Ice-T,
Rod Modell,
London Community Gospel Choir,
Thinking Fellers Union Local 282,
Talk Talk,
James White and The Blacks,
Toni Rubio,
Throbbing Gristle,
Massinfluence,
Lucky Dragons,
The Velvet Underground,
Kauko Röyhkä ja Narttu,
Siouxsie and the Banshees,
Moebius,
Malaria!,
Girls At Our Best!,
Blancmange,
Kerrie Biddell,
Popol Vuh,
John Lydon,
June Days,
Mark Hollis,
The American Breed,
The Mojo Men,
Manfred Mann's Earth Band,
Visage,
Danielle Patucci,
Matthew Halsall,
The Names,
Michelle Simonal,
The Real Kids,
A Certain Ratio,
The Cure,
Unrelated Segments,
Max Romeo,
The Toasters,
Mars,
This Heat,
Fifty Foot Hose,
Second Layer,
Organ,
Sly & The Family Stone,
Robert Hood,
Patti Smith,
Super Lover Cee & Casanova Rud,
Matthew Bourne,
Soul II Soul,
The Beau Brummels,
Jawbox,
Sam Rivers,
Das Ding,
Godley & Creme,
John Foxx,
Moby Grape,
Skaos, Skaos, Skaos, Skaos.
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.