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 Monaco 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 1967 to 1979.
I'm losing my edge.
To all the kids in Bremen and Cairo.
I'm losing my edge to the art-school Milan 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 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 Pete Rock & C.L. Smooth to the jazz kids.
I played it at the Hacienda.
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 Alphaville. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Suicide record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
A Flock of Seagulls,
Lakeside,
Au Pairs,
Sarah Menescal,
Charles Mingus,
Monks,
Ken Boothe,
Robert Wyatt,
Pere Ubu,
Qualms,
T. Rex,
Gang Gang Dance,
Bizarre Inc.,
The West Coast Pop Art Experimental Band,
Dr. Dre and Snoop Doggy Dog,
Underground Resistance,
Metal Thangz,
Eric Dolphy,
Interpol,
Alphaville,
Ash Ra Tempel,
Groovy Waters,
Davy DMX,
Peter & Gordon,
Bauhaus,
Animal Collective,
Pole,
The Raincoats,
Aaron Thompson,
Byron Stingily,
The Moody Blues,
Organ,
Rapeman,
a-ha,
Boredoms,
Panda Bear,
The Young Rascals,
The Flesh Eaters,
New York Dolls,
Tears for Fears,
Pharoah Sanders,
David Axelrod,
The Buckinghams,
PIL,
Super Lover Cee & Casanova Rud,
The Star Department,
Aural Exciters,
Jesper Dahlback,
Q65,
Kerrie Biddell,
Gian Franco Pienzio,
Stereo Dub,
Colin Newman,
Morten Harket,
Altered Images,
Grey Daturas,
Spandau Ballet,
Lou Reed & John Cale,
Moss Icon,
Bob Dylan,
Juan Atkins,
X-101, X-101, X-101, X-101.
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.