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 Israel and from Tokyo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in Jakarta and Houston.
I'm losing my edge to the art-school Mexico City 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 clarinet 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 Nik Kershaw to the crunk 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 Davy DMX. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Susan Cadogan 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
The Busters,
the Association,
Steve Hackett,
Robert Wyatt,
Warren Ellis,
Pere Ubu,
Cymande,
Flash Fearless,
8 Eyed Spy,
The Trojans,
Marvin Gaye,
Smog,
Andrew Hill,
The Litter,
UT,
Rosa Yemen,
Röyhkä ja Rättö ja Lehtisalo,
The Seeds,
Wire,
Nik Kershaw,
Sarah Menescal,
The Music Machine,
Unwound,
The Mummies,
The Skatalites,
the Germs,
Pierre Henry,
De La Soul & Jungle Brothers,
Q and Not U,
Moby Grape,
The Offenders,
The Barracudas,
Rapeman,
The Martian,
The American Breed,
The Detroit Cobras,
Subhumans,
E-Dancer,
Cecil Taylor,
Sly & The Family Stone,
Ponytail,
the Fania All-Stars,
The Toasters,
Bauhaus,
Avey Tare & Kría Brekkan,
Wasted Youth,
Crash Course in Science,
Grandmaster Flash and the Furious Five,
Robert Hood,
Beasts of Bourbon,
Lou Reed & Metallica,
Sister Nancy,
Art Ensemble Of Chicago,
Section 25,
Derrick May,
Donald Byrd,
Jacob Miller,
Bill Near,
Mary Jane Girls,
Lou Reed & John Cale,
Kool G Rap & DJ Polo,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.