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 Bolivia and from Stockholm.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Mumbai.
I'm losing my edge to the art-school Seoul 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Pylon to the rap kids.
I played it at the Troubador.
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 10cc. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Dorothy Ashby record on German import.
I heard that you have a white label of every seminal grunge 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 linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moss Icon,
Aloha Tigers,
K-Klass,
Fear,
Au Pairs,
Excepter,
Cymande,
Jesper Dahlback,
Rhythim Is Rhythim,
Desert Stars,
Boogie Down Productions,
Tomorrow,
Scratch Acid,
Boz Scaggs,
Crash Course in Science,
Marvin Gaye,
Colin Newman,
Parry Music,
Barbara Tucker,
Gerry Rafferty,
Depeche Mode,
Terry Callier,
The Durutti Column,
Banda Bassotti,
Camberwell Now,
Gang Green,
Tubeway Army,
F. McDonald,
Rites of Spring,
Con Funk Shun,
Johnny Osbourne,
Zapp,
Gastr Del Sol,
Zero Boys,
Kerri Chandler,
Livin' Joy,
Erasure,
Donny Hathaway,
DNA,
Absolute Body Control,
The Gap Band,
Notorious Big And Bone Thugs,
Crispy Ambulance,
The Birthday Party,
Public Enemy,
Kurtis Blow,
Roy Ayers,
L. Decosne,
H. Thieme,
Von Mondo,
T. Rex,
Sight & Sound,
Shoche,
Marmalade,
E-Dancer,
Teenage Jesus and the Jerks,
Model 500,
Kool G Rap & DJ Polo,
Stockholm Monsters,
Suicide,
Mo-Dettes,
Gabor Szabo,
Aaron Thompson,
Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon, Beasts of Bourbon.
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.