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 Singapore and from Philadelphia.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school Woodstock 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 The Music Machine to the electroclash 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 Johnny Clarke. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
Lee Hazlewood,
Robert Görl,
Babytalk,
Whodini,
Model 500,
KRS-One,
Röyhkä ja Rättö ja Lehtisalo,
The Pop Group,
Funky Four + One,
the Normal,
David McCallum,
Nils Olav,
The Invisible,
Black Bananas,
Derrick May,
Neu!,
F. McDonald,
Scrapy,
Cecil Taylor,
Larry & the Blue Notes,
E-Dancer,
Joey Negro,
Depeche Mode,
Magma,
The Leaves,
Godley & Creme,
Rites of Spring,
Lou Reed & John Cale,
The Dead C,
Television,
D'Angelo,
Robert Wyatt,
Ken Boothe,
Half Japanese,
Main Source,
K-Klass,
Liaisons Dangereuses,
Graham Central Station,
Visage,
Camberwell Now,
Davy DMX,
Bauhaus,
Kurtis Blow,
The Fugs,
Accadde A,
Qualms,
Pete Rock & C.L. Smooth,
Ultravox,
Desert Stars,
Oppenheimer Analysis,
Gichy Dan,
Kango’s Stein Massive,
The Techniques,
Johnny Osbourne,
Alphaville,
Slave,
MDC,
Radio Birdman,
The New Christs,
The Gap Band,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.