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 Glasgow.
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 1979.
I'm losing my edge.
To all the kids in Tokyo and Delhi.
I'm losing my edge to the art-school Tokyo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes 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 John Lydon 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 Kerrie Biddell. All the underground hits.
All Idris Muhammad tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Clarke record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cybotron,
Metal Thangz,
Darondo,
The Remains,
Gastr Del Sol,
Sonny Sharrock,
Larry & the Blue Notes,
Massinfluence,
the Slits,
Icehouse,
Funky Four + One,
The Pop Group,
The Toasters,
The Cosmic Jokers,
The Fire Engines,
Vaughan Mason & Crew,
Blancmange,
Be Bop Deluxe,
Kings Of Tomorrow,
Röyhkä ja Rättö ja Lehtisalo,
The Move,
The Names,
Simply Red,
Blossom Toes,
Hoover,
Excepter,
the Normal,
Can,
Kas Product,
New Order,
Funkadelic,
Crooked Eye,
The Pretty Things,
The Star Department,
The Doobie Brothers,
Sad Lovers and Giants,
Marc Romboy vs. Booka Shade,
Mr. Review,
Girls At Our Best!,
Maleditus Sound,
Judy Mowatt,
Ituana,
DJ Sneak,
Wighnomy Brothers & Robag Wruhme,
The Neon Judgement,
Mo-Dettes,
Roger Hodgson,
Ash Ra Tempel,
Terrestrial Tones,
Crime,
Monks,
Outsiders,
Dave Gahan,
Reagan Youth,
F. McDonald,
The Angels of Light,
Electric Light Orchestra,
Negative Approach,
Tears for Fears,
Joe Smooth,
John Foxx,
Section 25,
Tom Boy,
Interpol, Interpol, Interpol, Interpol.
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.