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 Sri Lanka and from Glasgow.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Bologna.
I'm losing my edge to the art-school Tehran 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 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb 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 LL Cool J 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 Gian Franco Pienzio. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Cluster 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your snare and bought an oboe.
I hear that you and your band have sold your oboe and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
The Monks,
Charles Mingus,
Brick,
Mars,
The Divine Comedy,
Magma,
Art Ensemble Of Chicago,
Nation of Ulysses,
The Tremeloes,
Pagans,
Bobby Byrd,
Moss Icon,
The Cure,
Pulsallama,
Quando Quango,
Soulsonic Force,
Crispy Ambulance,
Be Bop Deluxe,
Drive Like Jehu,
Jawbox,
Eve St. Jones,
Lucky Dragons,
The Men They Couldn't Hang,
Swell Maps,
Crispian St. Peters,
Swans,
Andrew Ashong & Theo Parrish,
Marshall Jefferson,
Rotary Connection,
The Litter,
Excepter,
Carl Craig,
Matthew Bourne,
Fela Kuti,
The Walker Brothers,
Man Parrish,
The Fall,
Magazine,
The Pop Group,
The Selecter,
Albert Ayler,
Sun Ra,
Main Source,
PIL,
D'Angelo,
Bobby Womack,
Peter Gordon & Love of Life Orchestra,
The Fire Engines,
Amazonics,
cv313,
Pole,
Nick Cave & The Bad Seeds,
Make Up,
Sugar Minott,
The Blues Magoos,
Niagra,
Thee Headcoats,
Notorious BIG live in Amsterdam,
Joyce Sims,
Kevin Saunderson,
Young Marble Giants,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.