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 Italy and from Bremen.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Accra and Toronto.
I'm losing my edge to the art-school Edmonton 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Lebanon Hanover to the funk kids.
I played it at the Roxy.
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 Deepchord. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal techno 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 guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
Thee Headcoats,
Sparks,
Spandau Ballet,
Tomorrow,
Brand Nubian,
Jeff Lynne,
Lou Reed & John Cale,
The Doors,
Bizarre Inc.,
The Last Poets,
Ohio Players,
Talk Talk,
L. Decosne,
T.S.O.L.,
Motorama,
Ultra Naté,
Lyres,
Judy Mowatt,
Radiohead,
Roxette,
The Dirtbombs,
Albert Ayler,
Moss Icon,
Vaughan Mason & Crew,
K-Klass,
Sandy B,
Minnie Riperton,
Amon Düül II,
Eddi Front,
Gerry Rafferty,
Alphaville,
Maleditus Sound,
the Human League,
Neil Young,
Letta Mbulu,
The Sound,
The Gladiators,
Boogie Down Productions,
Terrestrial Tones,
Country Joe & The Fish,
Stereo Dub,
Arthur Verocai,
Tommy Roe,
Lizzy Mercier Descloux,
Electric Prunes,
Japan,
the Association,
The Neon Judgement,
Fat Boys,
The Searchers,
Andrew Ashong & Theo Parrish,
Tom Boy,
Los Fastidios,
Minor Threat,
Pharoah Sanders,
Cabaret Voltaire,
T. Rex,
Mark Hollis,
The Star Department,
The Gun Club,
Youth Brigade,
Quantec, Quantec, Quantec, Quantec.
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.