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 Slovakia and from Accra.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1973.
I'm losing my edge.
To all the kids in Philadelphia and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the rhodes 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 X-101 to the rock 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 Blossom Toes. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every The Tremeloes 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nirvana record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Slick Rick,
Traffic Nightmare,
Ultra Naté,
Black Sheep,
Andrew Hill,
The Fortunes,
Unwound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bill Near,
Deepchord,
Marcia Griffiths,
Faust,
Section 25,
DNA,
Fat Boys,
Tubeway Army,
Depeche Mode,
Masters at Work,
Zero Boys,
10cc,
Fort Wilson Riot,
Pylon,
The Slits,
The Cure,
June Days,
Albert Ayler,
Jacques Brel,
Eurythmics,
Johnny Clarke,
Quando Quango,
Deakin,
Stereo Dub,
Wire,
Matthew Bourne,
The Knickerbockers,
Surgeon,
Lalo Schifrin,
Dark Day,
Red Lorry Yellow Lorry,
Aswad,
The Names,
Susan Cadogan,
Eve St. Jones,
Cecil Taylor,
The Monks,
Neu!,
Jimmy McGriff,
Bad Manners,
Monks,
The Offenders,
Bill Wells,
Accadde A,
Gang Gang Dance,
Pierre Henry,
Basic Channel,
E-Dancer,
Circle Jerks,
Nick Cave & The Bad Seeds,
David Axelrod,
The Royal Family And The Poor,
Charles Mingus,
Simply Red,
Alison Limerick,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.