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 Tunisia and from Taipei.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1972.
I'm losing my edge.
To all the kids in Bologna and Lille.
I'm losing my edge to the art-school Spokane 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 mellotron 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 Idris Muhammad to the grime 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 Letta Mbulu. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Grey Daturas record.
I hear that you and your band have sold your clarinet and bought an organ.
I hear that you and your band have sold your organ and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
The Standells,
Lakeside,
Archie Shepp,
Dorothy Ashby,
Oblivians,
Eve St. Jones,
The Walker Brothers,
Sun City Girls,
John Holt,
Talk Talk,
Ice-T,
a-ha,
The Vogues,
Stockholm Monsters,
Warren Ellis,
Kauko Röyhkä ja Narttu,
The Associates,
Mark Hollis,
The Gun Club,
The Gap Band,
Marcia Griffiths,
Masters at Work,
Arcadia,
Derrick May,
Barbara Tucker,
Boredoms,
Pierre Henry,
Harpers Bizarre,
Monolake,
Terry Callier,
Liaisons Dangereuses,
Flipper,
Ponytail,
The Zeros,
Babytalk,
Von Mondo,
These Immortal Souls,
Radiopuhelimet,
Theoretical Girls,
Don Cherry,
Lyres,
Sixth Finger,
Marine Girls,
Jandek,
James White and The Blacks,
T.S.O.L.,
Ten City,
Glenn Branca,
The Young Rascals,
Sparks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Alphaville,
Skriet,
DeepChord presents Echospace,
Zapp,
Yusef Lateef,
Stetsasonic,
Orchestral Manoeuvres in the Dark,
Jeff Lynne,
Cecil Taylor,
Mandrill,
Ornette Coleman,
Bootsy Collins,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.