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 Russia and from Salvador.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Manila 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 harpsichord 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 Spandau Ballet to the funk 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 Heavy D & The Boyz. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Curtis Mayfield,
The Gap Band,
L. Decosne,
Public Image Ltd.,
Subhumans,
Graham Central Station,
The New Christs,
Sight & Sound,
Gian Franco Pienzio,
Dark Day,
Roy Ayers,
Minnie Riperton,
Neu!,
Scratch Acid,
Sugar Minott,
Lee Hazlewood,
Black Bananas,
Hardrive,
Don Cherry,
Maurizio,
Jandek,
Aural Exciters,
Television Personalities,
The Martian,
Cymande,
Albert Ayler,
Eddi Front,
Sly & The Family Stone,
Althea and Donna,
Intrusion,
Liliput,
Underground Resistance,
The Knickerbockers,
The Electric Prunes,
Alice Coltrane,
Ronnie Foster,
Franke,
Derrick May,
Reagan Youth,
The Motions,
The Cramps,
Q65,
Severed Heads,
Ken Boothe,
Erasure,
Nico,
Joey Negro,
Kango’s Stein Massive,
Sällskapet,
The Gun Club,
Heavy D & The Boyz,
David McCallum,
John Foxx,
Simply Red,
Davy DMX,
Yusef Lateef,
Scott Walker,
R.M.O.,
Brass Construction,
The Move,
Mo-Dettes,
Rakim,
Oppenheimer Analysis,
The Remains, The Remains, The Remains, The Remains.
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.