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 Bhutan and from Tehran.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Delhi 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 at the first Suicide practice in a loft in New York.
I was working on the arpeggiator 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 Half Japanese to the techno 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 Curtis Mayfield. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Fear record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Sight & Sound,
Johnny Osbourne,
Eurythmics,
Selector Dub Narcotic,
Ohio Players,
Lou Reed & John Cale,
The Divine Comedy,
Fugazi,
The Five Americans,
Patti Smith,
Trumans Water,
Roxy Music,
Danielle Patucci,
John Cale,
Anakelly,
AZ,
Technova,
Kool Moe Dee,
The Invisible,
Con Funk Shun,
Tropical Tobacco,
Neu!,
Fatback Band,
Dark Day,
Bob Dylan,
Au Pairs,
Massinfluence,
The Misunderstood,
Subhumans,
Tres Demented,
James White and The Blacks,
The Count Five,
Q and Not U,
Brass Construction,
Don Cherry,
Gichy Dan,
The Electric Prunes,
Whodini,
The Buckinghams,
Lebanon Hanover,
Livin' Joy,
Sunsets and Hearts,
Orchestral Manoeuvres in the Dark,
Glambeats Corp.,
Buzzcocks,
the Bar-Kays,
Max Romeo,
The Mummies,
The Cure,
The Mighty Diamonds,
The Stooges,
Rakim,
Roger Hodgson,
Toni Rubio,
Marshall Jefferson,
Kenny Larkin,
the Slits,
Tim Buckley,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.