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 Malawi and from Paris.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Chocolate Watch Band to the crunk kids.
I played it at the Hacienda.
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 Desert Stars. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal grime 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 an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Shadows of Knight,
Eyeless In Gaza,
Brand Nubian,
Joyce Sims,
John Coltrane,
Fluxion,
Lightning Bolt,
Con Funk Shun,
Pylon,
the Fania All-Stars,
John Holt,
Blossom Toes,
Joy Division,
Super Lover Cee & Casanova Rud,
Dark Day,
Oppenheimer Analysis,
Qualms,
Electric Light Orchestra,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Remains,
Model 500,
Aural Exciters,
Adolescents,
Q and Not U,
Peter & Gordon,
Eli Mardock,
Sun Ra,
Gong,
Country Teasers,
Alphaville,
The Knickerbockers,
Alton Ellis,
Rod Modell,
Sex Pistols,
The Skatalites,
Dual Sessions,
The Raincoats,
Sunsets and Hearts,
Tears for Fears,
Lyres,
Unrelated Segments,
Bluetip,
Lou Reed & Metallica,
Interpol,
Mission of Burma,
The Monochrome Set,
The Trojans,
Gabor Szabo,
Notorious BIG live in Amsterdam,
Bobby Byrd,
Patti Smith,
The Moody Blues,
A Flock of Seagulls,
Throbbing Gristle,
Kayak,
Bobby Womack,
The Selecter,
Vladislav Delay,
Icehouse,
Bush Tetras,
The Mojo Men,
Accadde A, Accadde A, Accadde A, Accadde A.
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.