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 Djibouti and from Spokane.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Bologna and Manila.
I'm losing my edge to the art-school Madrid 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Nile Rodgers 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 Be Bop Deluxe to the crunk kids.
I played it at the Roxy.
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 The Fortunes. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Lungfish 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Ultra Naté,
Quando Quango,
The Beau Brummels,
Todd Terry,
EPMD,
Sex Pistols,
Graham Central Station,
Notorious Big And Bone Thugs,
Carl Craig,
Bootsy's Rubber Band,
Flamin' Groovies,
Cameo,
Skarface,
Bush Tetras,
Mary Jane Girls,
Sällskapet,
Gary Puckett & The Union Gap,
Minnie Riperton,
X-101,
James White and The Blacks,
Guru Guru,
Ice-T,
John Coltrane,
The Grass Roots,
Stetsasonic,
Teenage Jesus and the Jerks,
Godley & Creme,
DJ Style,
K-Klass,
Crooked Eye,
Television,
Angry Samoans,
Beasts of Bourbon,
Sonny Sharrock,
Rekid,
The Cramps,
Magazine,
The Gap Band,
Marmalade,
Radiopuhelimet,
Section 25,
X-102,
Marvin Gaye,
The Wake,
Yusef Lateef,
Lebanon Hanover,
KRS-One,
8 Eyed Spy,
Marc Romboy vs. Booka Shade,
Manfred Mann's Earth Band,
Robert Görl,
Reuben Wilson,
Sexual Harrassment,
The Toasters,
Lower 48,
Liliput,
Avey Tare's Slasher Flicks,
The Buckinghams,
Gerry Rafferty,
John Lydon,
Bill Wells,
Oneida, Oneida, Oneida, Oneida.
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.