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 Syria and from Beijing.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Milan.
I'm losing my edge to the art-school Madrid 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 arpeggiator 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 JFA to the punk 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 Fatback Band. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Peter Gordon & Love of Life Orchestra record.
I hear that you and your band have sold your rhodes and bought a theremin.
I hear that you and your band have sold your theremin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Traffic Nightmare,
T. Rex,
Ultimate Spinach,
James Chance & The Contortions,
The Walker Brothers,
Eric B and Rakim,
The Doobie Brothers,
Moby Grape,
Television Personalities,
Grandmaster Flash,
Gichy Dan,
T.S.O.L.,
Bluetip,
Nik Kershaw,
Iggy Pop,
DJ Style,
Oppenheimer Analysis,
Agitation Free,
Lee Hazlewood,
Jeff Mills,
The Techniques,
Bobby Hutcherson,
Kauko Röyhkä ja Narttu,
Terrestrial Tones,
Johnny Osbourne,
the Sonics,
The West Coast Pop Art Experimental Band,
Connie Case,
Mo-Dettes,
UT,
E-Dancer,
Q65,
Peter and Kerry,
Scratch Acid,
Orchestral Manoeuvres in the Dark,
Soft Machine,
Swell Maps,
Guru Guru,
The United States of America,
The Black Dice,
The Real Kids,
Bobbi Humphrey,
Röyhkä ja Rättö ja Lehtisalo,
Barry Ungar,
a-ha,
The Blues Magoos,
Warsaw,
the Normal,
Radiohead,
Harry Pussy,
The Slackers,
The Angels of Light,
The Gap Band,
The Sound,
Suicide,
Dark Day,
Nation of Ulysses,
Ken Boothe,
Unrelated Segments,
Eric Dolphy,
MC5,
The Seeds, The Seeds, The Seeds, The Seeds.
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.