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 Uganda and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1972.
I'm losing my edge.
To all the kids in New York and Stockholm.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Sandy B 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 Hashim. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Roy Ayers,
Drexciya,
Ohio Players,
Sparks,
Liaisons Dangereuses,
Gong,
The Martian,
Funkadelic,
Hot Snakes,
Bobby Sherman,
Radiohead,
The Pretty Things,
Colin Newman,
Jeru the Damaja,
James Chance & The Contortions,
Newcleus,
Excepter,
Dark Day,
Amon Düül,
the Fania All-Stars,
Warren Ellis,
Duran Duran,
Sarah Menescal,
Monolake,
kango's stein massive,
Davy DMX,
Loose Ends,
Arcadia,
The Monks,
Jeff Lynne,
Graham Central Station,
Drive Like Jehu,
Lower 48,
Godley & Creme,
The Last Poets,
The Gap Band,
The Standells,
The Saints,
Andrew Hill,
Grandmaster Flash and the Furious Five,
This Heat,
Average White Band,
Sad Lovers and Giants,
Circle Jerks,
Alice Coltrane,
Pylon,
Smog,
the Swans,
Sex Pistols,
Kool Moe Dee,
Larry & the Blue Notes,
Thee Headcoats,
The Victims,
Bluetip,
DNA,
Soft Cell,
D'Angelo,
Altered Images,
Isaac Hayes,
Deadbeat,
Television,
AZ, AZ, AZ, AZ.
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.