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 Rwanda and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Bremen and Cairo.
I'm losing my edge to the art-school Stockholm 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 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 Slave to the grime kids.
I played it at the Roxy.
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 Sällskapet. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Swell Maps record on German import.
I heard that you have a white label of every seminal grime 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 guitar and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Qualms,
DNA,
Amon Düül,
Brothers Johnson,
John Coltrane,
The Slits,
Vladislav Delay,
The Shadows of Knight,
T.S.O.L.,
The Real Kids,
Jesper Dahlbäck,
Slick Rick,
It's A Beautiful Day,
Lalo Schifrin,
Steve Hackett,
Bob Dylan,
Wolf Eyes,
Funky Four + One,
Faust,
T. Rex,
Bootsy's Rubber Band,
Crispian St. Peters,
Theoretical Girls,
the Swans,
Carl Craig,
Bobbi Humphrey,
The Gap Band,
R.M.O.,
Jesper Dahlback,
Deakin,
Intrusion,
Peter and Kerry,
John Cale,
Tropical Tobacco,
The Black Dice,
Joey Negro,
The Alarm Clocks,
The Dead C,
Tears for Fears,
Wasted Youth,
K-Klass,
London Community Gospel Choir,
Kauko Röyhkä ja Narttu,
The Star Department,
Pagans,
Lightning Bolt,
Smog,
Dark Day,
Ken Boothe,
Camberwell Now,
Cluster,
Bang on a Can All-Stars,
Loose Ends,
Jacques Brel,
The Young Rascals,
The Blues Magoos,
Joe Smooth,
The Kinks,
Sight & Sound,
The Five Americans,
the Fania All-Stars,
The Barracudas,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.