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 Bolivia and from Edmonton.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Bremen and New York.
I'm losing my edge to the art-school Copenhagen 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the clarinet 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 Brothers Johnson to the grime kids.
I played it at CBGB's.
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 The Men They Couldn't Hang. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your spring reverb and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sixth Finger,
The Grass Roots,
Scan 7,
Al Stewart,
Sound Behaviour,
Sonic Youth,
Massinfluence,
The Standells,
FM Einheit,
Hashim,
Unrelated Segments,
The Offenders,
Underground Resistance,
Lightning Bolt,
Thee Headcoats,
Black Bananas,
Harmonia,
ABBA,
Patti Smith,
Glenn Branca,
Bill Wells,
Big Daddy Kane,
Peter & Gordon,
New York Dolls,
Mars,
Pet Shop Boys,
Strawberry Alarm Clock,
Ossler,
Soul Sonic Force,
Television Personalities,
Scott Walker,
Tubeway Army,
Anakelly,
Magazine,
Rapeman,
New Order,
Anthony Braxton,
Minutemen,
Howard Jones,
Donny Hathaway,
The Electric Prunes,
UT,
Brick,
Pulsallama,
Mary Jane Girls,
48th St. Collective,
Röyhkä ja Rättö ja Lehtisalo,
The American Breed,
The Monks,
James White and The Blacks,
Shuggie Otis,
Roy Ayers,
Curtis Mayfield,
The Litter,
Jeru the Damaja,
Stiv Bators,
Zapp,
Masters at Work,
Bobby Sherman,
Grauzone,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.