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 Mozambique and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Shanghai and Edmonton.
I'm losing my edge to the art-school Manila 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 Buzzcocks practice in a loft in Bolton.
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 Main Source 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 Ken Boothe. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every the Fania All-Stars record on German import.
I heard that you have a white label of every seminal crunk 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 clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a H. Thieme record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Funkadelic,
The Fall,
La Düsseldorf,
The American Breed,
The Searchers,
The Alarm Clocks,
FM Einheit,
Suburban Knight,
Whodini,
The United States of America,
The Gun Club,
Marmalade,
Pet Shop Boys,
Gang Starr,
Lou Reed & Metallica,
Spoonie Gee,
Accadde A,
Rosa Yemen,
Louis and Bebe Barron,
The Trojans,
Adolescents,
Matthew Bourne,
Pagans,
Urselle,
Angry Samoans,
Ronnie Foster,
Rhythim Is Rhythim,
Marcia Griffiths,
Captain Beefheart & His Magic Band,
Magma,
Throbbing Gristle,
Flash Fearless,
Gong,
Das Ding,
Glenn Branca,
Robert Görl,
Scion,
Bobby Sherman,
Marc Romboy vs. Booka Shade,
Siouxsie and the Banshees,
B.T. Express,
The Young Rascals,
The Monks,
The Music Machine,
The Cosmic Jokers,
Country Joe & The Fish,
Masters at Work,
DeepChord presents Echospace,
The Pop Group,
The Golliwogs,
10cc,
Roxy Music,
Oneida,
Don Cherry,
Ajijia Myrayebe,
Dorothy Ashby,
Sound Behaviour,
Ornette Coleman,
Chris & Cosey,
Sam Rivers,
Lebanon Hanover,
Faraquet, Faraquet, Faraquet, Faraquet.
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.