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 Macedonia and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Accra and Toronto.
I'm losing my edge to the art-school Woodstock 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 oboe sounds with much patience.
I was there when Michael McDonald 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 48th St. Collective to the punk 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 Wings. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every David Axelrod record on German import.
I heard that you have a white label of every seminal crunk 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Magma,
R.M.O.,
Sound Behaviour,
Gichy Dan,
Grandmaster Flash,
Sällskapet,
DJ Sneak,
Supertramp,
Terrestrial Tones,
Eli Mardock,
In Retrospect,
H. Thieme,
Amazonics,
Jacques Brel,
Fifty Foot Hose,
Massinfluence,
Crime,
Skarface,
Moby Grape,
New Order,
Thompson Twins,
The Move,
Wally Richardson,
Bill Wells,
Black Flag,
The Standells,
Peter and Kerry,
Frankie Knuckles,
Alison Limerick,
Judy Mowatt,
Susan Cadogan,
Oneida,
Tomorrow,
Urselle,
The Monochrome Set,
Whodini,
10cc,
Loose Ends,
Camouflage,
Ultravox,
The Skatalites,
Piero Umiliani,
Rotary Connection,
Tim Buckley,
Cecil Taylor,
The Gun Club,
The Music Machine,
The Chocolate Watch Band,
Cluster,
Bronski Beat,
Country Teasers,
Oblivians,
Quando Quango,
The Dirtbombs,
Deutsch Amerikanische Freundschaft,
The Golliwogs,
Tommy Roe,
F. McDonald,
Livin' Joy,
Unwound,
Khruangbin,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.