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 India and from Seoul.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Milan and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 Lewis practice in a loft in Vancouver.
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 Tears for Fears to the techno kids.
I played it at the Spitz.
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 It's A Beautiful Day. All the underground hits.
All Peter & Gordon tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Danielle Patucci,
Max Romeo,
Vaughan Mason & Crew,
The Cowsills,
Dave Gahan,
Eden Ahbez,
London Community Gospel Choir,
Yusef Lateef,
Robert Hood,
Dorothy Ashby,
The American Breed,
Television,
The Evens,
Buzzcocks,
Nico,
Sonny Sharrock,
Camberwell Now,
Jimmy McGriff,
Yellowson,
Jandek,
Scratch Acid,
Letta Mbulu,
Q65,
Section 25,
The Beau Brummels,
The Techniques,
Soulsonic Force,
Todd Terry,
Scion,
Colin Newman,
Deutsch Amerikanische Freundschaft,
Sight & Sound,
The Electric Prunes,
Thee Headcoats,
Little Man,
Hoover,
Desert Stars,
Japan,
David Bowie,
Scott Walker,
Albert Ayler,
Gichy Dan,
Minnie Riperton,
The Sisters of Mercy,
E-Dancer,
Neu!,
Joe Finger,
Kas Product,
Lakeside,
Camron Feat. Jay Z And Juelz,
Trumans Water,
Röyhkä ja Rättö ja Lehtisalo,
The Flesh Eaters,
Bill Near,
Q and Not U,
The Human League,
Sun City Girls,
cv313,
Drexciya,
Warsaw,
B.T. Express,
the Human League, the Human League, the Human League, the Human League.
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.