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 Sudan and from New York.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Manila and Bremen.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Interpol to the rock kids.
I played it at Cafe Wha.
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 Roxy Music. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Bad Manners 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback 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?
Grandmaster Flash,
Bluetip,
Hot Snakes,
John Lydon,
Au Pairs,
Gang of Four,
Audionom,
The Associates,
Pylon,
David Axelrod,
Simply Red,
The Gun Club,
Supertramp,
Agent Orange,
Agitation Free,
Lindisfarne,
Richard Hell and the Voidoids,
These Immortal Souls,
The Young Rascals,
Dual Sessions,
Terror Squad Feat. Camron,
Matthew Bourne,
Flamin' Groovies,
Bobby Sherman,
Spoonie Gee,
Harmonia,
Crispian St. Peters,
T.S.O.L.,
The Martian,
The Five Americans,
The Beau Brummels,
Wasted Youth,
Gil Scott Heron,
The Alarm Clocks,
The Music Machine,
Vladislav Delay,
DeepChord presents Echospace,
Eric B and Rakim,
Röyhkä ja Rättö ja Lehtisalo,
Black Moon,
Masters at Work,
Fat Boys,
Marshall Jefferson,
8 Eyed Spy,
Loose Ends,
The Knickerbockers,
Sam Rivers,
Jerry's Kids,
Sun Ra,
Maleditus Sound,
Cybotron,
Animal Collective,
Deutsch Amerikanische Freundschaft,
Aloha Tigers,
Slave,
Lungfish,
Funkadelic,
The Offenders,
The Men They Couldn't Hang,
Marvin Gaye,
Robert Wyatt,
Lalann,
the Normal,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.