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 Malaysia and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school New York 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 theremin 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 Howard Jones to the punk kids.
I played it at the 40 Watt.
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 Audionom. All the underground hits.
All Banda Bassotti tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk 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?
La Düsseldorf,
Wolf Eyes,
Ultimate Spinach,
Lower 48,
Skaos,
Joyce Sims,
Second Layer,
Susan Cadogan,
Louis and Bebe Barron,
Gil Scott-Heron & Brian Jackson,
Graham Central Station,
Glambeats Corp.,
Slave,
Heaven 17,
The Gun Club,
Bang On A Can,
The Star Department,
Eurythmics,
Deakin,
Guru Guru,
Junior Murvin,
Pole,
The Sisters of Mercy,
The Slackers,
Archie Shepp,
Black Bananas,
Thee Headcoats,
Trumans Water,
The Cramps,
Tom Boy,
Marmalade,
Q65,
The American Breed,
The West Coast Pop Art Experimental Band,
Popol Vuh,
Supertramp,
Freddie Wadling,
Johnny Osbourne,
Sad Lovers and Giants,
Ten City,
The Smiths,
Tommy Roe,
Black Flag,
Toni Rubio,
The Modern Lovers,
Tropical Tobacco,
K-Klass,
Silicon Teens,
Letta Mbulu,
T.S.O.L.,
Janne Schatter,
The Saints,
The Toasters,
Deadbeat,
Lonnie Liston Smith,
Dr. Dre and Snoop Doggy Dog,
Leonard Cohen,
Altered Images,
Manfred Mann's Earth Band,
Los Fastidios,
The Monochrome Set,
Crime,
The Birthday Party,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.