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 France and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 Madrid and Spokane.
I'm losing my edge to the art-school Tokyo 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 1968 at the first Can practice in a loft in Cologne.
I was working on the oboe sounds with much patience.
I was there when David Bowie 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 Pulsallama to the rap 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 The Royal Family And The Poor. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Radio Birdman record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delon & Dalcan,
Robert Hood,
Howard Jones,
Lonnie Liston Smith,
Black Pus,
The Cowsills,
Yaz,
Groovy Waters,
Au Pairs,
Mandrill,
Dave Gahan,
Ponytail,
CMW,
Das Ding,
Sex Pistols,
KRS-One,
Teenage Jesus and the Jerks,
The Fortunes,
Parry Music,
Eli Mardock,
China Crisis,
Reagan Youth,
The Kinks,
Scott Walker,
8 Eyed Spy,
Marvin Gaye,
The Saints,
The Men They Couldn't Hang,
Carl Craig,
Pantaleimon,
Anthony Braxton,
Khruangbin,
Scion,
MDC,
Kerrie Biddell,
Archie Shepp,
Mantronix,
Masters at Work,
Black Moon,
Kas Product,
Idris Muhammad,
Heaven 17,
X-Ray Spex,
Amon Düül,
Brass Construction,
Arthur Verocai,
The Doobie Brothers,
De La Soul & Jungle Brothers,
Amon Düül II,
R.M.O.,
Rosa Yemen,
The Durutti Column,
Unrelated Segments,
Amazonics,
Visionaries,LMNO, T- Love & Iriscience,
The Doors,
The United States of America,
Malaria!,
Kayak,
The Peanut Butter Conspiracy,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.