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 Bulgaria and from Lyon.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
I'm losing my edge to the art-school Seoul 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 1984 at the first Arcadia practice in a loft in London.
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 The Grass Roots to the grunge 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 Section 25. All the underground hits.
All In Retrospect tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal jazz 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 a rhodes and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Heaven 17,
Panda Bear,
Cameo,
In Retrospect,
AZ,
Gastr Del Sol,
Lebanon Hanover,
The Electric Prunes,
Derrick Morgan,
Rakim,
Flash Fearless,
Organ,
Charles Mingus,
Harry Pussy,
the Association,
Stiv Bators,
Pete Rock & C.L. Smooth,
Gang Green,
Pharaoh Sanders and the Fire Engines,
FM Einheit,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lonnie Liston Smith,
Joey Negro,
The Tremeloes,
Trumans Water,
E-Dancer,
Lightning Bolt,
Thee Headcoats,
Youth Brigade,
Q and Not U,
Can,
Rosa Yemen,
Kaleidoscope,
Jacob Miller,
The Trojans,
Crispian St. Peters,
Inner City,
Procol Harum,
Bronski Beat,
Arcadia,
Aloha Tigers,
Isaac Hayes,
Big Daddy Kane,
Simply Red,
Tom Boy,
Urselle,
Robert Hood,
The Black Dice,
The Cure,
Severed Heads,
Avey Tare,
Monolake,
Public Enemy,
Dual Sessions,
The Slackers,
Adolescents,
Silicon Teens,
Steve Hackett,
Hashim,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.