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 Saudi Arabia and from Accra.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Jakarta 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Mummies 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 Sticky Fingaz feat. Raekwon. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Deepchord 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ash Ra Tempel record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Con Funk Shun,
Lindisfarne,
Technova,
Bobby Womack,
Radiohead,
Henry Cow,
48th St. Collective,
Hardrive,
E-Dancer,
Sandy B,
Agent Orange,
Robert Wyatt,
Thee Headcoats,
Banda Bassotti,
Pantaleimon,
Popol Vuh,
The Techniques,
Black Bananas,
Brothers Johnson,
Arthur Verocai,
Kings Of Tomorrow,
Andrew Hill,
U.S. Maple,
Easy Going,
Metal Thangz,
The Real Kids,
Avey Tare & Kría Brekkan,
Yazoo,
The Fall,
Stiv Bators,
Alison Limerick,
Urselle,
Youth Brigade,
Jacques Brel,
Mr. Review,
Pharaoh Sanders and the Fire Engines,
The Mighty Diamonds,
Black Flag,
Neil Young & Crazy Horse,
Bronski Beat,
John Lydon,
Man Eating Sloth,
Donny Hathaway,
Black Pus,
Grandmaster Flash and the Furious Five,
Crispy Ambulance,
Aaron Thompson,
X-102,
Jimmy McGriff,
Peter & Gordon,
Angels of Light & Akron/Family,
The Index,
The Barracudas,
Ronan,
The Motions,
Trumans Water,
Nick Fraelich,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.