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 Thailand and from Tokyo.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Delhi 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 mellotron 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 Pierre Henry to the techno kids.
I played it at the Spitz.
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 Bauhaus. All the underground hits.
All Can tracks. I heard you have a vinyl of every Mr. Review 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare 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?
Barrington Levy,
Peter & Gordon,
Skriet,
Harmonia,
Marmalade,
Maleditus Sound,
Wasted Youth,
Electric Light Orchestra,
The Motions,
Lee Hazlewood,
Rosa Yemen,
Big Daddy Kane,
Amon Düül,
The Zeros,
X-Ray Spex,
Schoolly D,
Bill Near,
The Real Kids,
Mad Mike,
Nik Kershaw,
Scan 7,
Steve Hackett,
Lakeside,
Pole,
Derrick Morgan,
AZ,
Crime,
Dave Gahan,
Jesper Dahlback,
The Wake,
Glambeats Corp.,
Quadrant,
June Days,
Dawn Penn,
8 Eyed Spy,
Traffic Nightmare,
Thee Headcoats,
Nation of Ulysses,
Bauhaus,
The Standells,
Sound Behaviour,
Quando Quango,
Ituana,
The Skatalites,
Aswad,
Eurythmics,
Mary Jane Girls,
Fela Kuti,
Kool G Rap & DJ Polo,
Dennis Brown,
Suburban Knight,
Eric B and Rakim,
Kool Moe Dee,
Boz Scaggs,
Morten Harket,
Rotary Connection,
Ornette Coleman,
Judy Mowatt,
Don Cherry,
Darondo,
Moebius,
Ultimate Spinach, Ultimate Spinach, Ultimate Spinach, Ultimate Spinach.
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.