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 Romania and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Beijing.
I'm losing my edge to the art-school Glasgow 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Fluxion to the funk 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 Birthday Party. All the underground hits.
All The Red Krayola tracks. I heard you have a vinyl of every This Heat 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gang Gang Dance 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?
Strawberry Alarm Clock,
the Sonics,
Orchestral Manoeuvres in the Dark,
Dual Sessions,
Siglo XX,
Jerry's Kids,
Electric Light Orchestra,
Buzzcocks,
Spoonie Gee,
Kaleidoscope,
Sixth Finger,
Sonny Sharrock,
Kool G Rap & DJ Polo,
Television Personalities,
Ohio Players,
Y Pants,
Supertramp,
Darondo,
the Germs,
Lower 48,
A Flock of Seagulls,
The Flesh Eaters,
Chris Corsano,
Fat Boys,
Scratch Acid,
Young Marble Giants,
Neil Young,
Al Stewart,
Pole,
Roxette,
Eyeless In Gaza,
Graham Central Station,
Desert Stars,
8 Eyed Spy,
James White and The Blacks,
Pagans,
Pete Rock & C.L. Smooth,
The Busters,
Laurel Aitken,
The Angels of Light,
Harry Pussy,
Animal Collective,
Cecil Taylor,
Franke,
Jerry Gold Smith,
Pet Shop Boys,
DeepChord presents Echospace,
Maleditus Sound,
Yellowson,
Major Organ And The Adding Machine,
Hot Snakes,
Dorothy Ashby,
Half Japanese,
The Seeds,
The Dave Clark Five,
Au Pairs,
Matthew Bourne,
The Men They Couldn't Hang,
Juan Atkins,
Lizzy Mercier Descloux,
Marvin Gaye,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.