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 France and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
I'm losing my edge to the art-school Seoul 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 chamberlin 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 Barry Ungar to the crunk 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 Larry & the Blue Notes. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
The Gap Band,
Brick,
Max Romeo,
Sonic Youth,
The Mighty Diamonds,
Groovy Waters,
Guru Guru,
Rod Modell,
Pantytec,
Pulsallama,
Dual Sessions,
Desert Stars,
Symarip,
The Remains,
The Busters,
Marc Romboy vs. Booka Shade,
Gerry Rafferty,
The Monochrome Set,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Associates,
Delta 5,
Skriet,
Todd Terry,
Bobby Hutcherson,
Banda Bassotti,
Pharaoh Sanders and the Fire Engines,
Sly & The Family Stone,
Dawn Penn,
Vainqueur,
Mandrill,
Reuben Wilson,
Gil Scott-Heron and Jamie xx,
Severed Heads,
The Royal Family And The Poor,
the Association,
Archie Shepp,
CMW,
Pole,
Model 500,
Parry Music,
June of 44,
Anthony Braxton,
Intrusion,
a-ha,
Jimmy McGriff,
DNA,
Niagra,
Adolescents,
PIL,
Outsiders,
Grandmaster Flash and the Furious Five,
James White and The Blacks,
Johnny Osbourne,
A Certain Ratio,
Khruangbin,
Procol Harum,
Flamin' Groovies,
Scion,
Radio Birdman,
Terry Callier,
Oblivians,
Röyhkä ja Rättö ja Lehtisalo,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.