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 Turkmenistan and from Jakarta.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Woodstock.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Roxette to the electroclash 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 Max Romeo. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan record on German import.
I heard that you have a white label of every seminal grunge 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 rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Super Lover Cee & Casanova Rud,
Sight & Sound,
Rakim,
Eric Copeland,
Q65,
Brick,
Theoretical Girls,
Yusef Lateef,
Scratch Acid,
Livin' Joy,
Zero Boys,
Grandmaster Flash and the Furious Five,
DJ Style,
Sandy B,
Rhythim Is Rhythim,
Quando Quango,
Rahsaan Roland Kirk,
Brass Construction,
Terrestrial Tones,
Cluster,
Kayak,
Icehouse,
The Fire Engines,
Y Pants,
Grey Daturas,
Wasted Youth,
Anthony Braxton,
Bluetip,
Mission of Burma,
Wally Richardson,
Darondo,
Barbara Tucker,
The Alarm Clocks,
Robert Wyatt,
Blake Baxter,
Roy Ayers Ubiquity,
Manfred Mann's Earth Band,
the Human League,
kango's stein massive,
Marvin Gaye,
Big Daddy Kane,
Erykah Badu,
Popol Vuh,
Bill Wells,
Johnny Osbourne,
Surgeon,
The American Breed,
The J.B.'s,
Donny Hathaway,
Black Sheep,
James White and The Blacks,
Hardrive,
Lalann,
Arthur Verocai,
Can,
Stetsasonic,
The Misunderstood,
Audionom,
X-Ray Spex,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.