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 Liberia and from Glasgow.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Cairo and Manila.
I'm losing my edge to the art-school Manila 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 Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Bootsy Collins to the grime kids.
I played it at Trash.
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 Sällskapet. All the underground hits.
All Pulsallama tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Sad Lovers and Giants,
Soft Cell,
Eric Dolphy,
Wolf Eyes,
Steve Hackett,
Nik Kershaw,
Orchestral Manoeuvres in the Dark,
KRS-One,
Skarface,
Gang Starr,
The Move,
The Gun Club,
The Black Dice,
Stockholm Monsters,
Amazonics,
Matthew Bourne,
Main Source,
Andrew Ashong & Theo Parrish,
Ultimate Spinach,
Make Up,
Johnny Clarke,
The Names,
Youth Brigade,
Scientists,
Rakim,
Danielle Patucci,
Jacques Brel,
Y Pants,
June Days,
Babytalk,
Delon & Dalcan,
Matthew Halsall,
MC5,
World's Most,
De La Soul & Jungle Brothers,
Au Pairs,
Sunsets and Hearts,
Soft Machine,
Soul II Soul,
CMW,
The Mojo Men,
The Skatalites,
Nation of Ulysses,
Roxy Music,
Young Marble Giants,
Notorious Big And Bone Thugs,
Los Fastidios,
Freddie Wadling,
Leonard Cohen,
Warsaw,
The Slackers,
Henry Cow,
The Blues Magoos,
Alton Ellis,
Quantec,
The Grass Roots,
Boogie Down Productions,
The Golliwogs,
Patti Smith,
Lou Reed,
Terry Callier,
A Certain Ratio,
Delta 5, Delta 5, Delta 5, Delta 5.
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.