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 Burundi and from Paris.
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 New York and Lille.
I'm losing my edge to the art-school Taipei 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Vaughan Mason & Crew to the crunk 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 Josef K. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Rhythm & Sound 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Monks,
The Fugs,
The Invisible,
Roxette,
The Sonics,
The Walker Brothers,
Lee Hazlewood,
Lizzy Mercier Descloux,
Davy DMX,
A Certain Ratio,
Pylon,
Henry Cow,
Black Pus,
X-101,
Bobby Byrd,
Talk Talk,
Tommy Roe,
Jerry Gold Smith,
Kool Moe Dee,
Fat Boys,
Kayak,
Altered Images,
8 Eyed Spy,
Mandrill,
The Fortunes,
Masters at Work,
Scientists,
The Doors,
Cybotron,
Second Layer,
Moby Grape,
Eli Mardock,
Mantronix,
Quantec,
Sandy B,
Scion,
Vainqueur,
The American Breed,
Major Organ And The Adding Machine,
Soft Machine,
Half Japanese,
Rekid,
Mission of Burma,
Electric Prunes,
Ice-T,
Sparks,
Unrelated Segments,
Steve Hackett,
Slick Rick,
The Fire Engines,
Iggy Pop,
The Smiths,
Heaven 17,
Alice Coltrane,
The Neon Judgement,
Eric Dolphy,
Kauko Röyhkä ja Narttu,
A Flock of Seagulls,
Alphaville,
Grauzone,
Roy Ayers Ubiquity,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.