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 Kuwait and from Lyon.
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 1962 to 1971.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Chic practice in a loft in New York.
I was working on the sitar 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 Crispian St. Peters to the punk kids.
I played it at CBGB's.
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 Rosa Yemen. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Carl Craig 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lungfish,
Lakeside,
Camberwell Now,
The Mummies,
Gang of Four,
Mars,
Stiv Bators,
Glambeats Corp.,
EPMD,
Teenage Jesus and the Jerks,
Brand Nubian,
June Days,
Deakin,
Reagan Youth,
Lizzy Mercier Descloux,
Boogie Down Productions,
The Divine Comedy,
Underground Resistance,
Mr. Review,
Amon Düül II,
Piero Umiliani,
Half Japanese,
Procol Harum,
Sunsets and Hearts,
Pharaoh Sanders and the Fire Engines,
The Moleskins,
Interpol,
John Holt,
Neil Young & Crazy Horse,
Judy Mowatt,
Qualms,
Fad Gadget,
Althea and Donna,
Chris & Cosey,
Robert Wyatt,
New Age Steppers,
The Doobie Brothers,
ABC,
ABBA,
New Order,
Thompson Twins,
Sight & Sound,
Ronan,
The Cramps,
Roxette,
Brothers Johnson,
Man Parrish,
Tom Boy,
Matthew Halsall,
The J.B.'s,
David Bowie,
Essential Logic,
Supertramp,
Tears for Fears,
Fela Kuti,
Johnny Osbourne,
The Zeros,
Model 500,
David McCallum, David McCallum, David McCallum, David McCallum.
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.