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 Syria and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1966 to 1979.
I'm losing my edge.
To all the kids in Mexico City and Cairo.
I'm losing my edge to the art-school New York 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 clarinet 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 Notorious Big And Bone Thugs to the funk 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 Gregory Isaacs. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Brothers Johnson 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 '70s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Drive Like Jehu,
Parry Music,
Thinking Fellers Union Local 282,
Desert Stars,
Kaleidoscope,
Peter and Kerry,
Suburban Knight,
the Human League,
Liliput,
Symarip,
Mark Hollis,
Suicide,
Country Teasers,
Amon Düül II,
the Bar-Kays,
Scan 7,
Average White Band,
Audionom,
Lou Christie,
Siouxsie and the Banshees,
MC5,
Khruangbin,
Gil Scott-Heron and Jamie xx,
Man Eating Sloth,
Terrestrial Tones,
Arcadia,
The Young Rascals,
Lebanon Hanover,
The Pretty Things,
Surgeon,
Gian Franco Pienzio,
Terry Callier,
Nation of Ulysses,
The Seeds,
The Real Kids,
The Jesus and Mary Chain,
the Association,
The Slits,
Banda Bassotti,
Procol Harum,
The Last Poets,
Roy Ayers Ubiquity,
OOIOO,
The Beau Brummels,
Tres Demented,
Nick Cave & The Bad Seeds,
Scratch Acid,
The Misunderstood,
Major Organ And The Adding Machine,
Popol Vuh,
Das Ding,
the Germs,
The J.B.'s,
Jeru the Damaja,
The Moody Blues,
PIL,
Bush Tetras,
DNA,
The Dave Clark Five,
The Tremeloes,
Masters at Work,
The Slackers,
Alphaville, Alphaville, Alphaville, Alphaville.
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.