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 Mozambique and from Columbus.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Tokyo.
I'm losing my edge to the art-school Lyon 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum 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 Roy Ayers to the dance 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 Patti Smith. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Bang On A Can 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 '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
The Seeds,
The Leaves,
The Blues Magoos,
EPMD,
Q65,
Jacques Brel,
Barrington Levy,
Suburban Knight,
Scott Walker + Sunn O))),
Stereo Dub,
The Doors,
Basic Channel,
Deadbeat,
De La Soul & Jungle Brothers,
MDC,
Hasil Adkins,
The Music Machine,
The Monks,
Anakelly,
Lower 48,
Young Marble Giants,
The Index,
Strawberry Alarm Clock,
The Durutti Column,
Massinfluence,
Talk Talk,
Procol Harum,
Selector Dub Narcotic,
Quando Quango,
Max Romeo,
Lou Reed,
Liaisons Dangereuses,
Jesper Dahlbäck,
Negative Approach,
Royal Trux,
Yaz,
The Five Americans,
Rod Modell,
Icehouse,
E-Dancer,
The Angels of Light,
The Dirtbombs,
Funky Four + One,
The Electric Prunes,
Major Organ And The Adding Machine,
Brothers Johnson,
Stockholm Monsters,
In Retrospect,
Marcia Griffiths,
Todd Terry,
Fluxion,
Scion,
Gabor Szabo,
Donald Byrd,
Marshall Jefferson,
Sun Ra,
Scott Walker,
Guru Guru,
Electric Light Orchestra,
Excepter,
The Real Kids,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.