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 Greece and from Lille.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1970.
I'm losing my edge.
To all the kids in Johannesburg and Lagos.
I'm losing my edge to the art-school Delhi 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 snare 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 The Five Americans to the punk kids.
I played it at the Astoria.
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 Black Dice. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
The Star Department,
the Swans,
Hashim,
Monolake,
Public Enemy,
Amon Düül,
The Misunderstood,
Silicon Teens,
Davy DMX,
Spandau Ballet,
Flipper,
The New Christs,
Warren Ellis,
The Mighty Diamonds,
Rakim,
Röyhkä ja Rättö ja Lehtisalo,
Youth Brigade,
Little Man,
Neil Young,
Buzzcocks,
Gang of Four,
Oppenheimer Analysis,
Al Stewart,
A Certain Ratio,
Louis and Bebe Barron,
Boz Scaggs,
Steve Hackett,
The Slackers,
The Wake,
Barry Ungar,
Livin' Joy,
Country Teasers,
Arcadia,
Das Ding,
Patti Smith,
Tomorrow,
Man Parrish,
the Fania All-Stars,
Saccharine Trust,
Angels of Light & Akron/Family,
H. Thieme,
Neil Young & Crazy Horse,
It's A Beautiful Day,
Matthew Halsall,
Kool G Rap & DJ Polo,
Pussy Galore,
Ituana,
The Fire Engines,
Prince Buster,
Charles Mingus,
Derrick Morgan,
The Dead C,
Kayak,
Minnie Riperton,
Sam Rivers,
Connie Case,
KRS-One,
The Offenders,
The Vogues,
The Moody Blues,
Surgeon,
Bill Wells,
Kool Moe Dee, Kool Moe Dee, Kool Moe Dee, Kool Moe Dee.
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.