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 Madagascar and from Cairo.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Paris and Woodstock.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord sounds with much patience.
I was there when Michael McDonald 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 The Mojo Men to the crunk kids.
I played it at the Crocodile.
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 Visage. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Crispian St. Peters record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kayak record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
the Swans,
Tommy Roe,
Radiohead,
The Cramps,
Max Romeo,
Fat Boys,
Sixth Finger,
Hasil Adkins,
Niagra,
Inner City,
Jeru the Damaja,
Albert Ayler,
Cameo,
Selector Dub Narcotic,
Metal Thangz,
Quantec,
World's Most,
Funkadelic,
Lakeside,
Amon Düül II,
Vainqueur,
Gang of Four,
Notorious BIG live in Amsterdam,
Thinking Fellers Union Local 282,
John Cale,
The Mighty Diamonds,
Stetsasonic,
Richard Hell and the Voidoids,
The Gun Club,
Babytalk,
Nik Kershaw,
The Trojans,
D'Angelo,
The Invisible,
Ultravox,
Echospace,
The Royal Family And The Poor,
Spandau Ballet,
Index,
Procol Harum,
The Alarm Clocks,
DNA,
Quadrant,
Jeff Lynne,
Rotary Connection,
Morten Harket,
Tropical Tobacco,
Tears for Fears,
Q65,
Camouflage,
Sly & The Family Stone,
The Zeros,
The Music Machine,
Los Fastidios,
Godley & Creme,
Ponytail,
Surgeon,
Dark Day,
The Dead C,
Nick Fraelich,
Sandy B,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.