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 Benin and from Bremen.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and London.
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 harpsichord 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 Techniques to the funk kids.
I played it at the Crocodile.
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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Amon Düül II record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echospace,
The Neon Judgement,
Eve St. Jones,
The Mighty Diamonds,
The Star Department,
Ronnie Foster,
Isaac Hayes,
Crash Course in Science,
Second Layer,
Röyhkä ja Rättö ja Lehtisalo,
Chris Corsano,
The Slits,
Dave Gahan,
Eric B and Rakim,
Sarah Menescal,
Marvin Gaye,
Orchestral Manoeuvres in the Dark,
MDC,
Vainqueur,
Y Pants,
The Litter,
DeepChord presents Echospace,
Cluster,
Mark Hollis,
Graham Central Station,
The Techniques,
June of 44,
Lakeside,
Fluxion,
Ken Boothe,
Faust,
Al Stewart,
The Jesus and Mary Chain,
Ronan,
Suburban Knight,
48th St. Collective,
Iggy Pop,
Marc Romboy vs. Booka Shade,
Crime,
Easy Going,
Amon Düül II,
The Gories,
Sly & The Family Stone,
The Index,
The Names,
Avey Tare & Kría Brekkan,
Brothers Johnson,
Alice Coltrane,
Yusef Lateef,
Surgeon,
Newcleus,
Chrome,
Morten Harket,
Index,
AZ,
Masters at Work,
Pere Ubu,
Wolf Eyes,
Harpers Bizarre,
Lizzy Mercier Descloux,
Shoche, Shoche, Shoche, Shoche.
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.