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 Micronesia and from Mexico City.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Spokane.
I'm losing my edge to the art-school Seoul 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 1983 at the first Art of Noise practice in a loft in London.
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 Steve Hackett to the funk kids.
I played it at Trash.
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 Gastr Del Sol. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Wally Richardson,
Pete Rock & C.L. Smooth,
Fad Gadget,
The Young Rascals,
The West Coast Pop Art Experimental Band,
Dark Day,
8 Eyed Spy,
Rekid,
Main Source,
The Grass Roots,
The Mummies,
Kauko Röyhkä ja Narttu,
Bob Dylan,
Sällskapet,
These Immortal Souls,
The Moleskins,
Bizarre Inc.,
Barclay James Harvest,
Neu!,
Severed Heads,
Visionaries,LMNO, T- Love & Iriscience,
Brass Construction,
Con Funk Shun,
Average White Band,
Flamin' Groovies,
Heavy D & The Boyz,
Suburban Knight,
Todd Rundgren,
The Music Machine,
L. Decosne,
Cal Tjader,
Crash Course in Science,
A Flock of Seagulls,
T.S.O.L.,
Pet Shop Boys,
Kevin Saunderson,
June Days,
The Dave Clark Five,
Negative Approach,
Liaisons Dangereuses,
The Mighty Diamonds,
Manfred Mann's Earth Band,
Sad Lovers and Giants,
Eric Dolphy,
Jesper Dahlback,
Robert Hood,
Pere Ubu,
Rod Modell,
In Retrospect,
Black Flag,
Toni Rubio,
Sunsets and Hearts,
the Swans,
Lightning Bolt,
Bang On A Can,
Duran Duran,
The Gories,
Kerri Chandler,
Rhythm & Sound,
The Stooges,
Monks,
Parry Music,
Interpol, Interpol, Interpol, Interpol.
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.