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 Eritrea and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Calgary and Seoul.
I'm losing my edge to the art-school Glasgow 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the mellotron 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 Popol Vuh to the crunk kids.
I played it at the Spitz.
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 Skatalites. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Steve Hackett 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 spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Amon Düül,
The Victims,
Big Daddy Kane,
Larry & the Blue Notes,
Neu!,
Masters at Work,
Lalann,
The Smiths,
Angry Samoans,
Sarah Menescal,
Pylon,
Spandau Ballet,
Josef K,
Ponytail,
Eurythmics,
Qualms,
Man Parrish,
Grauzone,
Al Stewart,
Lou Reed & Metallica,
Rhythm & Sound,
The Names,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Stiv Bators,
Louis and Bebe Barron,
Chris & Cosey,
Roy Ayers,
Kerrie Biddell,
Donny Hathaway,
Morten Harket,
Vaughan Mason & Crew,
the Swans,
the Bar-Kays,
Gang Gang Dance,
Erykah Badu,
The Durutti Column,
The Mojo Men,
Robert Hood,
X-Ray Spex,
Underground Resistance,
Public Image Ltd.,
Deadbeat,
Pulsallama,
Camberwell Now,
the Normal,
Echo & the Bunnymen,
The Sound,
Tubeway Army,
The Trojans,
Rites of Spring,
Crash Course in Science,
In Retrospect,
Derrick Morgan,
Little Man,
Terror Squad Feat. Camron,
Groovy Waters,
Stereo Dub,
Jacob Miller,
Y Pants,
PIL,
Whodini,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.