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 Gabon and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1965 to 1972.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
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 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 Lou Reed 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 Warren Ellis to the disco kids.
I played it at the Astoria.
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 Mad Mike. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Scrapy record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Y Pants,
Stetsasonic,
Susan Cadogan,
The Fire Engines,
Newcleus,
Livin' Joy,
It's A Beautiful Day,
Unrelated Segments,
Echospace,
Scratch Acid,
Darondo,
Brass Construction,
Selector Dub Narcotic,
Thompson Twins,
The Smiths,
EPMD,
Ice-T,
Rufus Thomas,
Public Image Ltd.,
cv313,
Television,
L. Decosne,
Chris Corsano,
Popol Vuh,
Neil Young & Crazy Horse,
JFA,
The Real Kids,
Marcia Griffiths,
Notorious BIG live in Amsterdam,
The Saints,
Judy Mowatt,
David Bowie,
Lalo Schifrin,
This Heat,
The Move,
Visionaries,LMNO, T- Love & Iriscience,
Scott Walker,
Röyhkä ja Rättö ja Lehtisalo,
Cluster,
X-102,
Manfred Mann's Earth Band,
Erasure,
Bob Dylan,
Pete Rock & C.L. Smooth,
Minor Threat,
Andrew Hill,
New Order,
10cc,
Vainqueur,
Soul II Soul,
Blake Baxter,
Brothers Johnson,
Country Joe & The Fish,
Lebanon Hanover,
Magazine,
The Stooges,
Kerrie Biddell,
Derrick Morgan,
Khruangbin,
The Misunderstood,
Bobby Sherman,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.