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 Jamaica and from Woodstock.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and Sao Paulo.
I'm losing my edge to the art-school Accra 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin 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 Amon Düül II to the punk kids.
I played it at the Troubador.
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 Warsaw. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Easy Going,
Ronan,
The Offenders,
Jeff Lynne,
Echo & the Bunnymen,
Pere Ubu,
Jesper Dahlback,
Roxette,
Pete Rock & C.L. Smooth,
Underground Resistance,
Shoche,
Cluster,
Quantec,
Big Daddy Kane,
Kurtis Blow,
Porter Ricks,
Avey Tare's Slasher Flicks,
Jacob Miller,
Camberwell Now,
The Gun Club,
Cecil Taylor,
Boogie Down Productions,
Bill Wells,
Arab on Radar,
Tomorrow,
The Red Krayola,
Neil Young,
Basic Channel,
Country Teasers,
Soft Cell,
The Mighty Diamonds,
Funkadelic,
Traffic Nightmare,
Oneida,
Yusef Lateef,
Rufus Thomas,
The Slackers,
Henry Cow,
Avey Tare & Kría Brekkan,
Radiopuhelimet,
The Monks,
The Barracudas,
Visage,
Echospace,
Yaz,
Albert Ayler,
The Misunderstood,
Kenny Larkin,
Crash Course in Science,
Deutsch Amerikanische Freundschaft,
Iggy Pop,
Blake Baxter,
Larry & the Blue Notes,
Kevin Saunderson,
Lou Reed & Metallica,
Toni Rubio,
The American Breed,
Peter and Kerry,
Super Lover Cee & Casanova Rud,
Orchestral Manoeuvres in the Dark,
Alison Limerick,
Scion,
The Kinks, The Kinks, The Kinks, The Kinks.
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.