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 Laos and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Tehran and Jakarta.
I'm losing my edge to the art-school Stockholm 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 arpeggiator 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 U.S. Maple to the funk 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 Sly & The Family Stone. All the underground hits.
All Gastr Del Sol tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Chocolate Watch Band,
John Foxx,
Nas,
Rotary Connection,
Eurythmics,
Blossom Toes,
Eyeless In Gaza,
Grauzone,
Lou Reed & John Cale,
Jawbox,
Roger Hodgson,
Pylon,
T. Rex,
Gang Green,
Eric B and Rakim,
Masters at Work,
Janne Schatter,
Barbara Tucker,
Nick Cave & The Bad Seeds,
Josef K,
Kurtis Blow,
Lizzy Mercier Descloux,
Dave Gahan,
Magazine,
The Pop Group,
Wings,
Suicide,
New Order,
Surgeon,
Marvin Gaye,
Rod Modell,
Fela Kuti,
Lucky Dragons,
Liaisons Dangereuses,
Theoretical Girls,
John Coltrane,
Eden Ahbez,
Jimmy McGriff,
Graham Central Station,
Crispy Ambulance,
Stockholm Monsters,
The Move,
Symarip,
Robert Hood,
Cluster,
Kauko Röyhkä ja Narttu,
The Fall,
Kaleidoscope,
Chris Corsano,
Zero Boys,
Wally Richardson,
Tomorrow,
The Blackbyrds,
Jeff Mills,
Steve Hackett,
Terry Callier,
Bluetip,
Sam Rivers,
Joensuu 1685,
Bill Wells,
The Music Machine,
Tubeway Army,
Livin' Joy,
Faust,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane.
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.