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 Niger and from Salvador.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
I'm losing my edge to the art-school Shanghai 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro 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 The West Coast Pop Art Experimental Band to the jazz kids.
I played it at CBGB's.
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 Pole. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Babytalk,
Das Ding,
Country Teasers,
Hoover,
The Tremeloes,
Los Fastidios,
Malaria!,
Funkadelic,
Supertramp,
Sexual Harrassment,
The Selecter,
Black Pus,
Zero Boys,
Toni Rubio,
The Dave Clark Five,
Alice Coltrane,
Groovy Waters,
Avey Tare,
The Pop Group,
The American Breed,
The Standells,
Porter Ricks,
Grandmaster Flash,
Sugar Minott,
Khruangbin,
Tom Boy,
Arcadia,
Yaz,
the Sonics,
The Gun Club,
Bauhaus,
John Foxx,
London Community Gospel Choir,
Leonard Cohen,
Pantytec,
The Five Americans,
Deutsch Amerikanische Freundschaft,
The Techniques,
The Fall,
Bootsy Collins,
Moebius,
Japan,
Erykah Badu,
Orchestral Manoeuvres in the Dark,
Spandau Ballet,
Terror Squad Feat. Camron,
Schoolly D,
The Gories,
Mantronix,
Minor Threat,
Scott Walker,
Massinfluence,
The Dirtbombs,
Thompson Twins,
Vladislav Delay,
Oneida,
Gregory Isaacs,
Nas,
Quando Quango,
Jerry's Kids,
Audionom, Audionom, Audionom, Audionom.
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.