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 Antigua and from Glasgow.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and London.
I'm losing my edge to the art-school Tehran 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 1968 at the first Can practice in a loft in Cologne.
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 Slave to the jazz 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 Rufus Thomas. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Theoretical Girls 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 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 Roxette record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 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?
Roy Ayers Ubiquity,
Theoretical Girls,
DJ Sneak,
Newcleus,
A Flock of Seagulls,
The Cure,
Heavy D & The Boyz,
Grandmaster Flash and the Furious Five,
Derrick Morgan,
Massinfluence,
Vainqueur,
Agent Orange,
Lindisfarne,
Shuggie Otis,
Kool G Rap & DJ Polo,
Beasts of Bourbon,
Electric Light Orchestra,
Main Source,
Mr. Review,
Average White Band,
Visage,
L. Decosne,
Ultramagnetic MC's,
Rowland S Howard / Lydia Lunch,
Lalann,
Liaisons Dangereuses,
The Pretty Things,
Sarah Menescal,
Fifty Foot Hose,
The Dirtbombs,
Freddie Wadling,
Franke,
Bobby Hutcherson,
Supertramp,
The Star Department,
The Fire Engines,
Wire,
Subhumans,
Brick,
Banda Bassotti,
The Monochrome Set,
The Buckinghams,
Derrick May,
The Gap Band,
Inner City,
Vaughan Mason & Crew,
Jacques Brel,
AZ,
Rites of Spring,
The Slackers,
Stockholm Monsters,
Captain Beefheart & His Magic Band,
Lucky Dragons,
Avey Tare's Slasher Flicks,
Fad Gadget,
Moss Icon,
Motorama,
Slick Rick,
Lou Reed & John Cale,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.