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 Togo and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Bologna and London.
I'm losing my edge to the art-school Sao Paulo 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 Robert Palmer 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 Unrelated Segments to the grunge kids.
I played it at the Roxy.
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 Marshall Jefferson. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal crunk 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 theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Yazoo,
Motorama,
Pierre Henry,
Quando Quango,
The Men They Couldn't Hang,
Selector Dub Narcotic,
Parry Music,
Crispian St. Peters,
New York Dolls,
Monolake,
Thompson Twins,
Throbbing Gristle,
Wings,
Sällskapet,
Derrick May,
Q65,
Johnny Osbourne,
Jesper Dahlback,
Traffic Nightmare,
Sixth Finger,
Basic Channel,
Gang Green,
Cal Tjader,
Kool G Rap & DJ Polo,
Judy Mowatt,
Joensuu 1685,
Quantec,
JFA,
Electric Light Orchestra,
Flash Fearless,
Boredoms,
Ten City,
David Axelrod,
Byron Stingily,
F. McDonald,
Loose Ends,
Neu!,
Deadbeat,
Beasts of Bourbon,
Minor Threat,
Jacques Brel,
Cybotron,
Fort Wilson Riot,
Porter Ricks,
John Lydon,
The Mojo Men,
Eric Copeland,
Cecil Taylor,
The Buckinghams,
Dual Sessions,
John Foxx,
The Moody Blues,
Freddie Wadling,
These Immortal Souls,
Pharaoh Sanders and the Fire Engines,
Sister Nancy,
Eric Dolphy,
B.T. Express,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.