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 United States and from Lille.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Milan.
I'm losing my edge to the art-school Lille 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the harpsichord sounds with much patience.
I was there when Captain Beefheart 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 Robert Hood to the disco 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 Suburban Knight. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Mission of Burma 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Human League,
John Lydon,
Bootsy's Rubber Band,
Amon Düül II,
The Moody Blues,
Cal Tjader,
Bronski Beat,
Angry Samoans,
Massinfluence,
The Move,
Gil Scott Heron,
Tom Boy,
Country Joe & The Fish,
Metal Thangz,
Visage,
Kool G Rap & DJ Polo,
the Fania All-Stars,
Gang Gang Dance,
La Düsseldorf,
Orchestral Manoeuvres in the Dark,
Nico,
Hashim,
Joensuu 1685,
The Pretty Things,
Soft Machine,
Anakelly,
Zero Boys,
The Five Americans,
Larry & the Blue Notes,
Amon Düül,
Joey Negro,
Girls At Our Best!,
Isaac Hayes,
The Dead C,
Grandmaster Flash and the Furious Five,
Soul Sonic Force,
Prince Buster,
Bobby Hutcherson,
Pharaoh Sanders and the Fire Engines,
Roger Hodgson,
Ultimate Spinach,
Janne Schatter,
Talk Talk,
The Golliwogs,
Junior Murvin,
Ronnie Foster,
Flash Fearless,
MC5,
Derrick May,
Gil Scott-Heron and Jamie xx,
Index,
Notorious BIG live in Amsterdam,
The Jesus and Mary Chain,
Rhythim Is Rhythim,
Crooked Eye,
LL Cool J,
Rotary Connection,
The Sound,
Porter Ricks,
Wire,
a-ha, a-ha, a-ha, a-ha.
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.