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 Germany and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the harpsichord 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 Television Personalities to the dance 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 Roger Hodgson. All the underground hits.
All Ultra Naté tracks. I heard you have a vinyl of every Ultramagnetic MC's record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
The Mojo Men,
Moss Icon,
Desert Stars,
Byron Stingily,
Cabaret Voltaire,
Soft Machine,
Kango’s Stein Massive,
Terrestrial Tones,
Barclay James Harvest,
Siglo XX,
UT,
Aswad,
The Birthday Party,
Sister Nancy,
Morten Harket,
Gil Scott-Heron and Jamie xx,
The Pop Group,
Tomorrow,
Q65,
Fluxion,
Amon Düül II,
Richard Hell and the Voidoids,
Kenny Larkin,
Godley & Creme,
Dead Boys,
Fat Boys,
Hashim,
Liliput,
Television,
The Fortunes,
Nik Kershaw,
China Crisis,
The Gun Club,
Funkadelic,
Lou Reed,
Todd Terry,
Gil Scott Heron,
The Durutti Column,
Fad Gadget,
Matthew Bourne,
The Electric Prunes,
The Sound,
Boz Scaggs,
Rod Modell,
Avey Tare's Slasher Flicks,
cv313,
The Associates,
Scott Walker,
A Flock of Seagulls,
Popol Vuh,
David McCallum,
the Germs,
Terry Callier,
Jesper Dahlbäck,
MC5,
Judy Mowatt,
Inner City,
E-Dancer,
OOIOO,
Alton Ellis,
Kevin Saunderson,
Ajijia Myrayebe,
Smog, Smog, Smog, Smog.
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.