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 Poland and from Mexico City.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Milan and Seoul.
I'm losing my edge to the art-school Mexico City 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the arpeggiator 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 Ultravox to the crunk 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 Joe Smooth. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Tomorrow 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 '60s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blues Magoos,
Louis and Bebe Barron,
James Chance & The Contortions,
New Age Steppers,
The Dirtbombs,
Gang Gang Dance,
Alice Coltrane,
Oblivians,
The Mojo Men,
Shoche,
DNA,
The Slackers,
Mr. Review,
Rhythm & Sound,
Althea and Donna,
The Red Krayola,
Gabor Szabo,
Traffic Nightmare,
Erasure,
Spoonie Gee,
Gil Scott-Heron & Brian Jackson,
Ludus,
Inner City,
Justin Hinds & The Dominoes,
Tim Buckley,
Kayak,
The Leaves,
Urselle,
The J.B.'s,
Alison Limerick,
Masters at Work,
Minnie Riperton,
Strawberry Alarm Clock,
Tomorrow,
The Wake,
Swell Maps,
Pole,
The Selecter,
The Flesh Eaters,
Warsaw,
Ornette Coleman,
Morten Harket,
Supertramp,
The Divine Comedy,
Zapp,
Blossom Toes,
The Blackbyrds,
Schoolly D,
48th St. Collective,
Aural Exciters,
Liaisons Dangereuses,
The Stooges,
Ituana,
Essential Logic,
Thompson Twins,
Scrapy,
Harry Pussy,
Japan,
June Days,
Youth Brigade,
Kool G Rap & DJ Polo,
Arcadia,
The Seeds, The Seeds, The Seeds, The Seeds.
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.