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 Libya and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the harpsichord 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 The Doors to the rock kids.
I played it at Trash.
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 Qualms. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Sixth Finger record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
Arab on Radar,
The Cramps,
KRS-One,
the Fania All-Stars,
Janne Schatter,
DeepChord presents Echospace,
John Holt,
The Mojo Men,
Brothers Johnson,
The Sisters of Mercy,
Whodini,
Albert Ayler,
Barbara Tucker,
Unrelated Segments,
Black Flag,
Banda Bassotti,
The Five Americans,
L. Decosne,
Magma,
Livin' Joy,
Kerri Chandler,
The Dave Clark Five,
Organ,
Sonny Sharrock,
Main Source,
Archie Shepp,
Motorama,
Blancmange,
Hashim,
Roxy Music,
Parry Music,
Porter Ricks,
The Victims,
Minor Threat,
The Fuzztones,
Japan,
Negative Approach,
The Selecter,
Animal Collective,
Flamin' Groovies,
Kurtis Blow,
Nik Kershaw,
Vaughan Mason & Crew,
The Blues Magoos,
The Leaves,
Harmonia,
Urselle,
Angels of Light & Akron/Family,
Larry & the Blue Notes,
Godley & Creme,
New Age Steppers,
Sällskapet,
The Birthday Party,
Peter and Kerry,
Scott Walker,
Justin Hinds & The Dominoes,
ABBA,
Aural Exciters,
Sixth Finger,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.