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 Fiji and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1972.
I'm losing my edge.
To all the kids in London and Bologna.
I'm losing my edge to the art-school Mexico City 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 808 sounds with much patience.
I was there when Michael McDonald 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 Bluetip to the rap kids.
I played it at the 40 Watt.
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 Tropical Tobacco. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every The Peanut Butter Conspiracy 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 '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Peter Gordon & Love of Life Orchestra record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Crispy Ambulance,
The Mighty Diamonds,
Tom Boy,
Stockholm Monsters,
Mars,
Max Romeo,
The Doobie Brothers,
Fugazi,
The Remains,
Erasure,
Nico,
The Searchers,
The Smoke,
Louis and Bebe Barron,
Minor Threat,
Wings,
Trumans Water,
London Community Gospel Choir,
Amazonics,
David McCallum,
Heaven 17,
Stiv Bators,
Kas Product,
the Bar-Kays,
Marmalade,
Maleditus Sound,
The Black Dice,
Masters at Work,
Blancmange,
the Association,
Robert Wyatt,
Fort Wilson Riot,
The Monochrome Set,
Sister Nancy,
Lalo Schifrin,
Glambeats Corp.,
Larry & the Blue Notes,
Dorothy Ashby,
Sun Ra,
the Human League,
Man Parrish,
Aural Exciters,
Morten Harket,
Sight & Sound,
Bobby Sherman,
Harpers Bizarre,
Blake Baxter,
The Victims,
Sam Rivers,
Shoche,
One Last Wish,
The Mojo Men,
Animal Collective,
Sällskapet,
Dawn Penn,
Röyhkä ja Rättö ja Lehtisalo,
Bill Near,
Massinfluence,
Barclay James Harvest,
B.T. Express,
Rufus Thomas,
Average White Band, Average White Band, Average White Band, Average White Band.
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.