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 Rwanda and from New York.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Portland 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the 808 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 Tremeloes to the jazz kids.
I played it at the Hacienda.
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 Ossler. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every This Heat record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Angry Samoans record.
I hear that you and your band have sold your sitar and bought a snare.
I hear that you and your band have sold your snare and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Tres Demented,
The Pop Group,
Albert Ayler,
Ultimate Spinach,
Roger Hodgson,
Lou Reed,
Rowland S Howard / Lydia Lunch,
Vainqueur,
Moss Icon,
Warsaw,
The Walker Brothers,
The Detroit Cobras,
Susan Cadogan,
Spoonie Gee,
Joe Smooth,
Roy Ayers Ubiquity,
Arab on Radar,
Nik Kershaw,
Rhythim Is Rhythim,
Steve Hackett,
James White and The Blacks,
Delta 5,
The Mummies,
E-Dancer,
Ralphi Rosario,
The Beau Brummels,
The Raincoats,
Electric Light Orchestra,
Ultra Naté,
Roy Ayers,
Excepter,
Thinking Fellers Union Local 282,
Tim Buckley,
Zero Boys,
Black Sheep,
The Wake,
Rhythm & Sound,
Crime,
T. Rex,
Althea and Donna,
Lee Hazlewood,
Grauzone,
Eyeless In Gaza,
Pulsallama,
The Five Americans,
Jesper Dahlback,
Joyce Sims,
The Associates,
a-ha,
MC5,
Lizzy Mercier Descloux,
the Fania All-Stars,
Junior Murvin,
Idris Muhammad,
Hasil Adkins,
Sixth Finger,
Mo-Dettes,
Gabor Szabo,
Lonnie Liston Smith,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.