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 Argentina and from Manila.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Shanghai and New York.
I'm losing my edge to the art-school Bremen 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 arpeggiator 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 The Leaves to the punk kids.
I played it at the Troubador.
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 Jesper Dahlbäck. All the underground hits.
All Pharaoh Sanders and the Fire Engines tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Banda Bassotti 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?
Quando Quango,
New Order,
New Age Steppers,
The American Breed,
Gichy Dan,
Steve Hackett,
Sugar Minott,
Kool Moe Dee,
Heaven 17,
Schoolly D,
Sun Ra Arkestra,
Wally Richardson,
Grandmaster Flash and the Furious Five,
Prince Buster,
Röyhkä ja Rättö ja Lehtisalo,
Black Moon,
Visionaries,LMNO, T- Love & Iriscience,
Echospace,
Faust,
Grey Daturas,
Intrusion,
Nick Fraelich,
Soulsonic Force,
Pulsallama,
The Misunderstood,
Traffic Nightmare,
Marine Girls,
Scrapy,
The Monks,
Ituana,
The Real Kids,
Hasil Adkins,
Chris Corsano,
Barrington Levy,
Dr. Dre and Snoop Doggy Dog,
Bobby Sherman,
Stereo Dub,
Altered Images,
Bobby Byrd,
Mo-Dettes,
Guru Guru,
Aloha Tigers,
DJ Style,
Brothers Johnson,
Maleditus Sound,
8 Eyed Spy,
Malaria!,
Michelle Simonal,
Kayak,
Fatback Band,
Public Image Ltd.,
Newcleus,
Bluetip,
Eden Ahbez,
X-102,
Susan Cadogan,
Lucky Dragons,
Jeru the Damaja,
Basic Channel,
Lee Hazlewood,
Stetsasonic,
Warsaw, Warsaw, Warsaw, Warsaw.
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.