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 Guinea-Bissau and from Tehran.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Spokane 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba 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 Ronnie Foster to the jazz 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 Laurel Aitken. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Leaves,
the Germs,
Mr. Review,
Godley & Creme,
Urselle,
Warren Ellis,
Major Organ And The Adding Machine,
Jesper Dahlback,
Angels of Light & Akron/Family,
Young Marble Giants,
Television,
Janne Schatter,
T. Rex,
Sällskapet,
Bluetip,
Lee Hazlewood,
Rites of Spring,
Nas,
Banda Bassotti,
Japan,
The Toasters,
Black Pus,
Ohio Players,
Howard Jones,
Bizarre Inc.,
Ultravox,
Gang of Four,
Unrelated Segments,
Red Lorry Yellow Lorry,
Dr. Dre and Snoop Doggy Dog,
Orchestral Manoeuvres in the Dark,
The Blues Magoos,
Scott Walker + Sunn O))),
Gong,
Judy Mowatt,
The Move,
Electric Light Orchestra,
Bill Near,
Supertramp,
The Happenings,
Laurel Aitken,
Marcia Griffiths,
Yellowson,
Johnny Osbourne,
Magazine,
The Pop Group,
Bobby Womack,
The Neon Judgement,
Lyres,
Kayak,
In Retrospect,
Roy Ayers,
Brick,
Section 25,
David Bowie,
Lafayette Afro Rock Band,
Bill Wells,
Piero Umiliani,
Cluster,
Excepter,
Marmalade,
June Days,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.