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 Panama and from Manila.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school Houston 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Althea and Donna to the electroclash kids.
I played it at the Crocodile.
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 Procol Harum. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Jeff Lynne 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 '80s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boz Scaggs,
Charles Mingus,
The Monks,
Stiv Bators,
The Music Machine,
Lafayette Afro Rock Band,
Glenn Branca,
Terror Squad Feat. Camron,
The Evens,
Little Man,
Radiopuhelimet,
Guru Guru,
The Beau Brummels,
The Smiths,
Davy DMX,
The Alarm Clocks,
The Durutti Column,
Mo-Dettes,
Nation of Ulysses,
Skriet,
Throbbing Gristle,
Sällskapet,
Mark Hollis,
Procol Harum,
The Smoke,
Faust,
Hardrive,
Althea and Donna,
Sly & The Family Stone,
The Monochrome Set,
Crooked Eye,
Pylon,
Crime,
Faraquet,
Drive Like Jehu,
Hashim,
Orchestral Manoeuvres in the Dark,
Schoolly D,
Arthur Verocai,
the Germs,
Notorious BIG live in Amsterdam,
Bad Manners,
Amazonics,
Soul II Soul,
Pantytec,
David McCallum,
Ultra Naté,
The Angels of Light,
The Sound,
The Associates,
The Five Americans,
The United States of America,
The Red Krayola,
Andrew Hill,
Urselle,
Soft Machine,
The Chocolate Watch Band,
UT,
Yaz,
Talk Talk,
Kerri Chandler,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.