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 Belize and from Paris.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Johannesburg and Taipei.
I'm losing my edge to the art-school Johannesburg 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 clarinet sounds with much patience.
I was there when Nile Rodgers 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 Y Pants to the disco 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 Camron Feat. Memphis Bleek And Beenie Seigel. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Radiopuhelimet record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
The Moleskins,
Echospace,
Au Pairs,
F. McDonald,
Camouflage,
Jesper Dahlback,
Al Stewart,
The Toasters,
Public Image Ltd.,
Zapp,
The Remains,
KRS-One,
Soft Machine,
Oppenheimer Analysis,
8 Eyed Spy,
Jawbox,
MC5,
Curtis Mayfield,
New York Dolls,
Dark Day,
China Crisis,
Smog,
The Music Machine,
Oblivians,
Pet Shop Boys,
The Names,
The United States of America,
Essential Logic,
Bobby Sherman,
Sight & Sound,
Sound Behaviour,
Archie Shepp,
Groovy Waters,
Terry Callier,
Subhumans,
Alphaville,
Robert Hood,
Rakim,
The Blackbyrds,
Talk Talk,
David Axelrod,
Gil Scott Heron,
Manfred Mann's Earth Band,
Soul Sonic Force,
Masters at Work,
Zero Boys,
Black Moon,
Gong,
Ten City,
Second Layer,
Minor Threat,
Lee Hazlewood,
Tomorrow,
Ash Ra Tempel,
Accadde A,
Minnie Riperton,
Selector Dub Narcotic,
Jimmy McGriff,
Ronan,
The Doors,
Wire, Wire, Wire, Wire.
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.