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 Lithuania and from Sao Paulo.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
I'm losing my edge to the art-school Bologna 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 1968 at the first Can practice in a loft in Cologne.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Todd Terry to the dance 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 The Monks. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every The Royal Family And The Poor 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Max Romeo record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Michelle Simonal,
Grandmaster Flash and the Furious Five,
Robert Hood,
Piero Umiliani,
The Angels of Light,
The Names,
The Cosmic Jokers,
Teenage Jesus and the Jerks,
Thee Headcoats,
Eric B and Rakim,
The Trojans,
The Wake,
Idris Muhammad,
Pierre Henry,
Half Japanese,
New York Dolls,
The Misunderstood,
Laurel Aitken,
Organ,
Ultra Naté,
Roxette,
Patti Smith,
Franke,
Swans,
Crime,
The Royal Family And The Poor,
The Jesus and Mary Chain,
Das Ding,
Excepter,
D'Angelo,
Talk Talk,
Leonard Cohen,
Q65,
CMW,
Camouflage,
Tommy Roe,
Tim Buckley,
Black Bananas,
Lalann,
Deakin,
Minor Threat,
Sugar Minott,
Surgeon,
Sexual Harrassment,
Adolescents,
Black Sheep,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Monks,
The West Coast Pop Art Experimental Band,
Kool Moe Dee,
Lou Christie,
Shoche,
The Blues Magoos,
Alphaville,
Lungfish,
Brick,
Man Parrish,
Joe Smooth,
Marvin Gaye,
Second Layer,
The Star Department, The Star Department, The Star Department, The Star Department.
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.