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 Tonga and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1975.
I'm losing my edge.
To all the kids in Portland and Sao Paulo.
I'm losing my edge to the art-school Cairo 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 808 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 Moody Blues to the jazz kids.
I played it at CBGB's.
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 Neil Young. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Drexciya record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Young Marble Giants,
Make Up,
Sun Ra Arkestra,
Hasil Adkins,
Bobby Womack,
London Community Gospel Choir,
Mad Mike,
The Detroit Cobras,
Tubeway Army,
Sällskapet,
Rotary Connection,
Desert Stars,
Model 500,
Aloha Tigers,
Mr. Review,
China Crisis,
New Age Steppers,
Fela Kuti,
Hardrive,
It's A Beautiful Day,
Strawberry Alarm Clock,
Pylon,
Lou Reed,
Public Enemy,
In Retrospect,
Godley & Creme,
Curtis Mayfield,
Rites of Spring,
Howard Jones,
Agent Orange,
Lower 48,
Pussy Galore,
Yaz,
Sly & The Family Stone,
Glenn Branca,
The Blues Magoos,
Albert Ayler,
Carl Craig,
Orchestral Manoeuvres in the Dark,
Bush Tetras,
Duran Duran,
8 Eyed Spy,
Delon & Dalcan,
X-102,
Echo & the Bunnymen,
L. Decosne,
Zero Boys,
Soft Machine,
Quando Quango,
Saccharine Trust,
Cybotron,
OOIOO,
Röyhkä ja Rättö ja Lehtisalo,
the Bar-Kays,
Dual Sessions,
The Gap Band,
Crooked Eye,
Spandau Ballet,
Delta 5,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.