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 Czech Republic and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1971.
I'm losing my edge.
To all the kids in London and Bremen.
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 rhodes 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 Eric Dolphy to the grime 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 Unrelated Segments. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Pere Ubu record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
Motorama,
The United States of America,
Girls At Our Best!,
Bronski Beat,
Joy Division,
Brand Nubian,
Funky Four + One,
X-102,
Laurel Aitken,
Pylon,
The Busters,
Prince Buster,
The Sound,
L. Decosne,
Sonic Youth,
Lou Reed & John Cale,
Black Sheep,
The Velvet Underground,
Spandau Ballet,
Drive Like Jehu,
Main Source,
Isaac Hayes,
Bobbi Humphrey,
Tim Buckley,
China Crisis,
Todd Terry,
Jeff Mills,
Das Ding,
Pharaoh Sanders and the Fire Engines,
Kango’s Stein Massive,
The Last Poets,
Accadde A,
Ultravox,
Röyhkä ja Rättö ja Lehtisalo,
The Royal Family And The Poor,
Gang Starr,
Tropical Tobacco,
Godley & Creme,
Procol Harum,
David Axelrod,
Joe Smooth,
Howard Jones,
Pantaleimon,
Marvin Gaye,
Liaisons Dangereuses,
Marc Almond,
Outsiders,
Jeru the Damaja,
Johnny Osbourne,
Schoolly D,
Hardrive,
New York Dolls,
Rahsaan Roland Kirk,
Reagan Youth,
Faust,
Arab on Radar,
Louis and Bebe Barron,
Marc Romboy vs. Booka Shade,
Youth Brigade,
Japan,
Erasure, Erasure, Erasure, Erasure.
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.