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 Panama and from Lagos.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Al Stewart to the funk kids.
I played it at the Roxy.
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 Stockholm Monsters. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Smog,
The Searchers,
Main Source,
The Doobie Brothers,
Soft Machine,
The Buckinghams,
Graham Central Station,
Grandmaster Flash and the Furious Five,
Adolescents,
Pole,
Gang Starr,
Susan Cadogan,
The Young Rascals,
The Kinks,
Henry Cow,
Manfred Mann's Earth Band,
Eddi Front,
Tears for Fears,
Rahsaan Roland Kirk,
Joey Negro,
Jacques Brel,
Drive Like Jehu,
A Flock of Seagulls,
Ultimate Spinach,
The Count Five,
Zero Boys,
Gerry Rafferty,
Harpers Bizarre,
Bush Tetras,
Sexual Harrassment,
Roy Ayers,
the Fania All-Stars,
The Cosmic Jokers,
Kool G Rap & DJ Polo,
The Leaves,
Throbbing Gristle,
Pantaleimon,
Con Funk Shun,
Skarface,
Stetsasonic,
Wolf Eyes,
the Association,
Juan Atkins,
Mary Jane Girls,
Trumans Water,
Scott Walker,
Nick Fraelich,
Minnie Riperton,
Crispy Ambulance,
Radio Birdman,
John Coltrane,
Scan 7,
Deadbeat,
The Modern Lovers,
Dark Day,
Gil Scott-Heron and Jamie xx,
The Evens,
Notorious BIG live in Amsterdam,
Theoretical Girls,
Captain Beefheart & His Magic Band,
Jimmy McGriff,
Erasure, Erasure, Erasure, Erasure.
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.