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 Greece and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1974.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school Halifax 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 The Barracudas 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 The Trojans. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Bush Tetras 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mark Hollis record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Grandmaster Flash and the Furious Five,
The Saints,
Matthew Bourne,
Organ,
Ornette Coleman,
Peter & Gordon,
Warsaw,
Bang on a Can All-Stars,
Surgeon,
The Blues Magoos,
Connie Case,
The Offenders,
Gil Scott-Heron & Brian Jackson,
Arthur Verocai,
Scratch Acid,
The Kinks,
The Dead C,
Hoover,
the Germs,
The Music Machine,
Minor Threat,
X-102,
Jeru the Damaja,
CMW,
London Community Gospel Choir,
Niagra,
The Fortunes,
Alton Ellis,
Yellowson,
Kerrie Biddell,
The Mighty Diamonds,
Tommy Roe,
Half Japanese,
Pharoah Sanders,
The Slits,
Sunsets and Hearts,
Arcadia,
Liliput,
David Axelrod,
Bizarre Inc.,
Cal Tjader,
Nik Kershaw,
Nick Cave & The Bad Seeds,
Sly & The Family Stone,
Strawberry Alarm Clock,
David McCallum,
The Doobie Brothers,
Vaughan Mason & Crew,
The Sonics,
Donny Hathaway,
Khruangbin,
Skarface,
Rekid,
Fort Wilson Riot,
Flamin' Groovies,
Amon Düül,
Crash Course in Science,
Sonny Sharrock,
Janne Schatter,
Nirvana,
Shuggie Otis,
It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day, It's A Beautiful Day.
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.