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 United Kingdom and from Toronto.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Lille and Copenhagen.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the rhodes 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 Tommy Roe to the dance kids.
I played it at Cafe Wha.
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 Cowsills. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every John Coltrane 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 '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Au Pairs,
Orchestral Manoeuvres in the Dark,
Soul Sonic Force,
The Star Department,
Piero Umiliani,
Eddi Front,
The Doobie Brothers,
The Dead C,
Fugazi,
Banda Bassotti,
CMW,
Bobby Womack,
Shuggie Otis,
Juan Atkins,
Sarah Menescal,
Cheater Slicks,
Yusef Lateef,
Main Source,
Ralphi Rosario,
Lucky Dragons,
Sexual Harrassment,
Model 500,
Marshall Jefferson,
Stetsasonic,
Scan 7,
The American Breed,
Tres Demented,
Country Teasers,
Wally Richardson,
The Cowsills,
The Pop Group,
Patti Smith,
Ultra Naté,
Lebanon Hanover,
Fat Boys,
Sly & The Family Stone,
Archie Shepp,
Mo-Dettes,
Boogie Down Productions,
Thee Headcoats,
Traffic Nightmare,
Interpol,
Organ,
Jerry's Kids,
A Certain Ratio,
the Sonics,
Jacob Miller,
Rufus Thomas,
Dual Sessions,
Laurel Aitken,
Dark Day,
John Coltrane,
Rekid,
Minnie Riperton,
Mars,
Manfred Mann's Earth Band,
JFA,
Das Ding,
Magazine,
the Swans,
Fort Wilson Riot,
The Sonics,
Hoover,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.