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 Eritrea and from Delhi.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school Salvador 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 mellotron 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 Country Joe & The Fish to the punk kids.
I played it at the Troubador.
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 Harmonia. All the underground hits.
All the Germs tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal dance 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 güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
The Men They Couldn't Hang,
Yellowson,
Frankie Knuckles,
Jeff Mills,
Pulsallama,
Tim Buckley,
Popol Vuh,
Crispian St. Peters,
Niagra,
Fatback Band,
Skaos,
Fifty Foot Hose,
The Remains,
Sparks,
The Associates,
John Foxx,
Delon & Dalcan,
Grandmaster Flash,
Swans,
R.M.O.,
The Cosmic Jokers,
The Doors,
Bobby Sherman,
Kayak,
Gabor Szabo,
Monolake,
Charles Mingus,
Groovy Waters,
Ultra Naté,
Simply Red,
Rufus Thomas,
Dorothy Ashby,
Roger Hodgson,
Cecil Taylor,
Jimmy McGriff,
Yusef Lateef,
The Mighty Diamonds,
Angels of Light & Akron/Family,
Lou Reed & Metallica,
Amon Düül,
The New Christs,
Morten Harket,
Cybotron,
Rhythm & Sound,
Jeff Lynne,
Toni Rubio,
Arcadia,
JFA,
Bill Wells,
Jerry's Kids,
The Birthday Party,
The Alarm Clocks,
Joey Negro,
Drexciya,
The Knickerbockers,
The American Breed,
T.S.O.L.,
Cabaret Voltaire,
Main Source,
Kas Product,
Todd Terry,
Howard Jones,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.