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 Qatar and from Lille.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Taipei 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Barclay James Harvest to the rap kids.
I played it at Trash.
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 Adolescents. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thee Headcoats,
Little Man,
Cal Tjader,
The Chocolate Watch Band,
Liliput,
The Seeds,
Underground Resistance,
Porter Ricks,
Barrington Levy,
Bobby Sherman,
Alice Coltrane,
Aural Exciters,
Joy Division,
Half Japanese,
Barbara Tucker,
Black Moon,
Roxette,
Joyce Sims,
R.M.O.,
Main Source,
Fat Boys,
Dorothy Ashby,
Erykah Badu,
Eli Mardock,
Flash Fearless,
Gary Puckett & The Union Gap,
Deutsch Amerikanische Freundschaft,
Spandau Ballet,
The Fuzztones,
Glenn Branca,
B.T. Express,
Throbbing Gristle,
Roy Ayers,
the Human League,
Mark Hollis,
Jeff Lynne,
Camron Feat. Jay Z And Juelz,
Minor Threat,
The Jesus and Mary Chain,
Quando Quango,
Ultramagnetic MC's,
Graham Central Station,
New Order,
Agitation Free,
Echo & the Bunnymen,
Aloha Tigers,
Youth Brigade,
Minny Pops,
Ajijia Myrayebe,
The Walker Brothers,
Grandmaster Flash and the Furious Five,
Boredoms,
DeepChord presents Echospace,
Arthur Verocai,
The Peanut Butter Conspiracy,
Dennis Brown,
The Young Rascals,
Sight & Sound,
Al Stewart,
Harmonia, Harmonia, Harmonia, Harmonia.
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.