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 Turkmenistan 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 1960 to 1973.
I'm losing my edge.
To all the kids in Halifax and Shanghai.
I'm losing my edge to the art-school Bremen 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 clarinet 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 Porter Ricks to the jazz kids.
I played it at Cafe Wha.
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 Junior Murvin. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every Althea and Donna 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 '80s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Big Daddy Kane,
Pylon,
Tears for Fears,
Ralphi Rosario,
Lalo Schifrin,
Simply Red,
Red Lorry Yellow Lorry,
Lou Reed,
Selector Dub Narcotic,
the Human League,
Angels of Light & Akron/Family,
David Axelrod,
These Immortal Souls,
Section 25,
Sun Ra,
Barrington Levy,
Index,
Scientists,
The Gap Band,
Hardrive,
John Cale,
The Skatalites,
The Fire Engines,
Ultramagnetic MC's,
Basic Channel,
Bizarre Inc.,
Brass Construction,
Heavy D & The Boyz,
Drive Like Jehu,
Ituana,
Black Pus,
F. McDonald,
Franke,
Roy Ayers,
The Music Machine,
The Techniques,
The American Breed,
The Modern Lovers,
Mary Jane Girls,
Neu!,
Sound Behaviour,
Nick Cave & The Bad Seeds,
Fort Wilson Riot,
Rufus Thomas,
The Motions,
Television,
the Swans,
Whodini,
Lower 48,
The Red Krayola,
Richard Hell and the Voidoids,
Echospace,
Bush Tetras,
Average White Band,
Isaac Hayes,
Sandy B,
Jesper Dahlbäck,
Hasil Adkins,
Shoche,
Wolf Eyes,
Soul Sonic Force,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.