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 Swaziland and from Lille.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Glasgow 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro 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 Gabor Szabo to the funk kids.
I played it at the Astoria.
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 Kaleidoscope. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Lou Reed & John Cale,
Lalann,
Ossler,
The Buckinghams,
Kool G Rap & DJ Polo,
PIL,
Oneida,
Echospace,
Connie Case,
Little Man,
Gang Gang Dance,
Rod Modell,
Jandek,
Loose Ends,
Neil Young & Crazy Horse,
Bootsy Collins,
The Victims,
Wighnomy Brothers & Robag Wruhme,
Metal Thangz,
Gil Scott-Heron and Jamie xx,
Don Cherry,
CMW,
Bobbi Humphrey,
Cameo,
Parry Music,
Gerry Rafferty,
The Golliwogs,
Arthur Verocai,
The Star Department,
Eden Ahbez,
Ten City,
Procol Harum,
Cluster,
Quadrant,
James Chance & The Contortions,
The Gun Club,
Sällskapet,
Carl Craig,
Spoonie Gee,
Tommy Roe,
Bauhaus,
Stockholm Monsters,
JFA,
Q and Not U,
The Toasters,
F. McDonald,
Derrick Morgan,
Blake Baxter,
Isaac Hayes,
The Martian,
Marcia Griffiths,
Be Bop Deluxe,
The Shadows of Knight,
The J.B.'s,
Grey Daturas,
Heaven 17,
Graham Central Station,
the Fania All-Stars,
The Selecter,
Lou Reed & Metallica,
Electric Light Orchestra,
Chrome,
kango's stein massive,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.