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 Kyrgyzstan and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1978.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
I'm losing my edge to the art-school Toronto 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 1976 at the first Chic practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Nirvana to the jazz 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 Arcadia. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Outsiders 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
Grandmaster Flash,
The Smiths,
Ossler,
H. Thieme,
Ajijia Myrayebe,
Spandau Ballet,
Kauko Röyhkä ja Narttu,
Flipper,
This Heat,
Rakim,
Duran Duran,
The New Christs,
Kayak,
Joe Smooth,
Bizarre Inc.,
The American Breed,
Radiopuhelimet,
The Kinks,
Leonard Cohen,
kango's stein massive,
The Fugs,
Quantec,
Deutsch Amerikanische Freundschaft,
The Royal Family And The Poor,
Camron Feat. Jay Z And Juelz,
Harpers Bizarre,
Ultra Naté,
Rekid,
Pylon,
Dual Sessions,
Monolake,
Camberwell Now,
X-102,
Main Source,
Anthony Braxton,
The Men They Couldn't Hang,
The Monochrome Set,
Orchestral Manoeuvres in the Dark,
Black Flag,
Kango’s Stein Massive,
Malaria!,
Marcia Griffiths,
The Smoke,
Peter and Kerry,
Glambeats Corp.,
Brothers Johnson,
Mary Jane Girls,
Eyeless In Gaza,
The Litter,
the Slits,
Yaz,
Bronski Beat,
The Grass Roots,
Pole,
D'Angelo,
Traffic Nightmare,
Clear Light,
ABBA,
Ponytail,
Neu!,
Terry Callier,
Rod Modell,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.