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 Mauritania and from Bologna.
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 1962 to 1976.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Lille 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 sitar 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 The Tremeloes to the rock kids.
I played it at the Roxy.
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 Soft Cell. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch 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 '50s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Icehouse,
Agent Orange,
Electric Prunes,
Althea and Donna,
Gong,
Banda Bassotti,
Lizzy Mercier Descloux,
Kas Product,
Lalo Schifrin,
Kurtis Blow,
The Fuzztones,
the Soft Cell,
Rhythim Is Rhythim,
Angry Samoans,
Derrick Morgan,
Sunsets and Hearts,
Sällskapet,
The American Breed,
The Flesh Eaters,
Ice-T,
Ituana,
Scott Walker,
Scion,
The Music Machine,
June of 44,
Grandmaster Flash,
Urselle,
Rhythm & Sound,
New Age Steppers,
Qualms,
Magazine,
Cabaret Voltaire,
The Happenings,
Faust,
The Real Kids,
Pere Ubu,
Laurel Aitken,
Ralphi Rosario,
Derrick May,
Inner City,
Faraquet,
Dorothy Ashby,
The Fire Engines,
DNA,
Notorious BIG live in Amsterdam,
Royal Trux,
Groovy Waters,
Art Ensemble Of Chicago,
The Selecter,
Delta 5,
Roxette,
Motorama,
Prince Buster,
Eli Mardock,
Camron Feat. Memphis Bleek And Beenie Seigel,
Erykah Badu,
The Slits,
The Men They Couldn't Hang,
Eyeless In Gaza,
Juan Atkins,
Robert Wyatt, Robert Wyatt, Robert Wyatt, Robert Wyatt.
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.