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 Comoros and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in Cairo and Milan.
I'm losing my edge to the art-school Portland 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer 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 Country Joe & The Fish to the electroclash 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 Beau Brummels. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Bizarre Inc. record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
China Crisis,
Swans,
Procol Harum,
The Tremeloes,
Bobby Hutcherson,
The Knickerbockers,
Lyres,
Sad Lovers and Giants,
Visage,
The Sound,
Gang Gang Dance,
New Age Steppers,
Joe Smooth,
Rapeman,
Funkadelic,
Scott Walker,
The Star Department,
Peter & Gordon,
Howard Jones,
Audionom,
Fugazi,
The Buckinghams,
T. Rex,
The Slackers,
Flamin' Groovies,
Boogie Down Productions,
Mars,
Al Stewart,
The Detroit Cobras,
Quando Quango,
The Mojo Men,
Derrick Morgan,
Cymande,
Tom Boy,
Minny Pops,
Crooked Eye,
Kayak,
Von Mondo,
Mission of Burma,
Make Up,
UT,
Red Lorry Yellow Lorry,
The Wake,
Thinking Fellers Union Local 282,
Soft Cell,
Vladislav Delay,
Agent Orange,
Marcia Griffiths,
Mad Mike,
Aaron Thompson,
Andrew Ashong & Theo Parrish,
the Normal,
Supertramp,
Cecil Taylor,
Goldenarms,
Ohio Players,
Index,
The Evens, The Evens, The Evens, The Evens.
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.