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 Turkmenistan and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school New York 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 the Soft Cell to the rap kids.
I played it at the 40 Watt.
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 Sad Lovers and Giants. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Amon Düül 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispy Ambulance,
Piero Umiliani,
The Cowsills,
Vainqueur,
Swell Maps,
Marshall Jefferson,
Idris Muhammad,
Quantec,
Gary Puckett & The Union Gap,
Von Mondo,
Radiohead,
Dorothy Ashby,
Grey Daturas,
Graham Central Station,
The Cosmic Jokers,
8 Eyed Spy,
Sällskapet,
Country Teasers,
Siglo XX,
Kenny Larkin,
Half Japanese,
Crime,
Crispian St. Peters,
Jeff Lynne,
Cymande,
L. Decosne,
New Age Steppers,
Harmonia,
Anthony Braxton,
Agent Orange,
Rhythim Is Rhythim,
Franke,
Spoonie Gee,
The Sonics,
Alison Limerick,
the Normal,
Fluxion,
Lower 48,
Gerry Rafferty,
Au Pairs,
Brass Construction,
E-Dancer,
Depeche Mode,
Outsiders,
Maurizio,
Joensuu 1685,
The Happenings,
Jesper Dahlback,
Trumans Water,
Tubeway Army,
Angry Samoans,
John Coltrane,
Dual Sessions,
Yazoo,
Sound Behaviour,
Harry Pussy,
Gang Gang Dance,
Goldenarms,
Sun Ra Arkestra,
Faraquet, Faraquet, Faraquet, Faraquet.
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.