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 Chad and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Manchester.
I'm losing my edge to the art-school London 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the sitar 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 Art Ensemble Of Chicago to the rap 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 Michelle Simonal. All the underground hits.
All Captain Beefheart & His Magic Band tracks. I heard you have a vinyl of every Curtis Mayfield record on German import.
I heard that you have a white label of every seminal grunge 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your linndrum and bought a 808.
I hear that you and your band have sold your 808 and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Unwound,
Barbara Tucker,
The Misunderstood,
Sugar Minott,
Q and Not U,
Crime,
The Dave Clark Five,
The Cosmic Jokers,
The United States of America,
The Victims,
Deutsch Amerikanische Freundschaft,
Derrick Morgan,
X-Ray Spex,
Grauzone,
Goldenarms,
Yusef Lateef,
Sunsets and Hearts,
Underground Resistance,
48th St. Collective,
The Motions,
Larry & the Blue Notes,
Country Teasers,
Notorious Big And Bone Thugs,
the Human League,
Gichy Dan,
Junior Murvin,
Livin' Joy,
Matthew Bourne,
Roy Ayers,
Subhumans,
Gian Franco Pienzio,
Mad Mike,
Public Image Ltd.,
Oppenheimer Analysis,
Motorama,
Dark Day,
Moss Icon,
Cheater Slicks,
Rekid,
Absolute Body Control,
Kevin Saunderson,
Maleditus Sound,
Byron Stingily,
June of 44,
The Stooges,
Rahsaan Roland Kirk,
Al Stewart,
Aaron Thompson,
Tommy Roe,
John Coltrane,
The Red Krayola,
The Barracudas,
Silicon Teens,
Surgeon,
Lindisfarne,
Deepchord,
T.S.O.L.,
Ossler,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.