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 Saudi Arabia and from Edmonton.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Salvador.
I'm losing my edge to the art-school Johannesburg 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Anakelly to the grime 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 The Knickerbockers. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Can record on German import.
I heard that you have a white label of every seminal rap 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 a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Zapp record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Kool Moe Dee,
The Cure,
E-Dancer,
Pierre Henry,
Porter Ricks,
June of 44,
Audionom,
Nick Fraelich,
Joey Negro,
The Gap Band,
Can,
Jeff Mills,
Johnny Osbourne,
Todd Rundgren,
Blake Baxter,
Cabaret Voltaire,
Monolake,
Fatback Band,
Flash Fearless,
Eurythmics,
Scott Walker,
Urselle,
Lucky Dragons,
Funkadelic,
Louis and Bebe Barron,
Pantaleimon,
Ornette Coleman,
A Certain Ratio,
Tim Buckley,
Malaria!,
K-Klass,
La Düsseldorf,
Letta Mbulu,
Eden Ahbez,
Joyce Sims,
The Smoke,
Sight & Sound,
Stetsasonic,
Con Funk Shun,
The Men They Couldn't Hang,
The Stooges,
The Grass Roots,
ABC,
The Victims,
The Names,
The Count Five,
Barclay James Harvest,
Deepchord,
Janne Schatter,
Harry Pussy,
Liaisons Dangereuses,
Masters at Work,
The Dave Clark Five,
The Pretty Things,
Peter Gordon & Love of Life Orchestra,
Ohio Players,
Röyhkä ja Rättö ja Lehtisalo,
Gastr Del Sol,
Make Up,
John Holt,
Barry Ungar,
D'Angelo, D'Angelo, D'Angelo, D'Angelo.
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.