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 Marshall Islands and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Johannesburg and Accra.
I'm losing my edge to the art-school Stockholm 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 linndrum 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 Gil Scott-Heron & Brian Jackson to the dance 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 Isaac Hayes. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Whodini 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Erykah Badu,
Alice Coltrane,
Lizzy Mercier Descloux,
Nirvana,
Crime,
Desert Stars,
Excepter,
the Germs,
The Mojo Men,
Eli Mardock,
The Cure,
The Alarm Clocks,
Mars,
The Birthday Party,
Scott Walker,
Jawbox,
Bang On A Can,
Steve Hackett,
10cc,
Lyres,
Section 25,
The West Coast Pop Art Experimental Band,
Barbara Tucker,
Stetsasonic,
New Order,
Jeru the Damaja,
Lebanon Hanover,
Nils Olav,
The Flesh Eaters,
CMW,
Soft Machine,
Louis and Bebe Barron,
Ponytail,
Khruangbin,
Soulsonic Force,
The Searchers,
The Monks,
The New Christs,
the Fania All-Stars,
Reuben Wilson,
Organ,
Interpol,
The Divine Comedy,
It's A Beautiful Day,
Major Organ And The Adding Machine,
Gang Gang Dance,
Saccharine Trust,
Moby Grape,
Art Ensemble Of Chicago,
Terrestrial Tones,
The Beau Brummels,
Skriet,
Simply Red,
Rhythim Is Rhythim,
Barclay James Harvest,
the Bar-Kays,
Gil Scott Heron,
Warren Ellis,
Can, Can, Can, Can.
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.