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 Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
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 marimba 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 Al Stewart to the punk kids.
I played it at the Troubador.
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 Tres Demented. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Wighnomy Brothers & Robag Wruhme 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
Yaz,
Quando Quango,
The Associates,
Soulsonic Force,
Bobbi Humphrey,
Public Enemy,
Echo & the Bunnymen,
Blossom Toes,
The Modern Lovers,
Stereo Dub,
Avey Tare & Kría Brekkan,
Black Moon,
Aural Exciters,
Gil Scott-Heron & Brian Jackson,
Reagan Youth,
Funkadelic,
Josef K,
Dorothy Ashby,
The Misunderstood,
Pole,
Skarface,
The Count Five,
Jerry Gold Smith,
Deadbeat,
Henry Cow,
Angels of Light & Akron/Family,
Qualms,
Hashim,
Johnny Osbourne,
Funky Four + One,
Jeru the Damaja,
Nation of Ulysses,
Technova,
The Detroit Cobras,
Marc Romboy vs. Booka Shade,
Barrington Levy,
Matthew Bourne,
Alphaville,
One Last Wish,
Rapeman,
Flamin' Groovies,
The Fugs,
Connie Case,
Hasil Adkins,
Robert Hood,
Magma,
Shuggie Otis,
Blancmange,
Laurel Aitken,
The Mojo Men,
Art Ensemble Of Chicago,
DJ Sneak,
Main Source,
Susan Cadogan,
The Star Department,
Pussy Galore,
Neil Young,
Richard Hell and the Voidoids,
Moss Icon,
Godley & Creme,
Wings,
Erykah Badu,
Patti Smith,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.