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 Jamaica and from Bremen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Manchester 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Gladiators to the grunge 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 Lizzy Mercier Descloux. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Schoolly D 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 '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Eyeless In Gaza,
Mission of Burma,
Gregory Isaacs,
Albert Ayler,
The Remains,
Gang Starr,
Jerry Gold Smith,
Charles Mingus,
The Invisible,
Average White Band,
Larry & the Blue Notes,
Marshall Jefferson,
Man Parrish,
Roy Ayers,
Godley & Creme,
Niagra,
China Crisis,
Amon Düül II,
Minnie Riperton,
Ornette Coleman,
Althea and Donna,
Model 500,
Bill Near,
Ituana,
The Evens,
Tim Buckley,
Parry Music,
Arcadia,
Robert Hood,
Panda Bear,
Masters at Work,
Derrick Morgan,
Au Pairs,
Susan Cadogan,
Kurtis Blow,
Monolake,
Alphaville,
Al Stewart,
Liliput,
Gil Scott Heron,
Yusef Lateef,
Grey Daturas,
Scan 7,
Motorama,
John Foxx,
Guru Guru,
Moby Grape,
Fat Boys,
Royal Trux,
The Slackers,
Robert Görl,
Minor Threat,
De La Soul & Jungle Brothers,
Sunsets and Hearts,
Flipper,
Wire,
Amon Düül,
Marine Girls,
London Community Gospel Choir,
Country Joe & The Fish,
Babytalk, Babytalk, Babytalk, Babytalk.
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.