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 Macedonia and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Spokane 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 World's Most to the jazz kids.
I played it at the Troubador.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Rufus Thomas tracks. I heard you have a vinyl of every Talk Talk 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your güiro and bought a guitar.
I hear that you and your band have sold your guitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers,
Stockholm Monsters,
Pete Rock & C.L. Smooth,
The Dave Clark Five,
Roxette,
Maleditus Sound,
John Coltrane,
Joensuu 1685,
U.S. Maple,
Can,
John Holt,
The Toasters,
Neil Young & Crazy Horse,
Richard Hell and the Voidoids,
Spandau Ballet,
The Wake,
DJ Style,
Max Romeo,
Deadbeat,
Sun Ra Arkestra,
Lebanon Hanover,
OOIOO,
Gil Scott Heron,
The Gap Band,
Strawberry Alarm Clock,
Art Ensemble Of Chicago,
Yaz,
The Invisible,
Alison Limerick,
Scott Walker + Sunn O))),
Kauko Röyhkä ja Narttu,
Isaac Hayes,
Soul Sonic Force,
Pere Ubu,
Niagra,
Jeff Lynne,
Parry Music,
The New Christs,
Bobby Womack,
Aloha Tigers,
Scott Walker,
Funky Four + One,
Public Enemy,
The Searchers,
Youth Brigade,
Zero Boys,
Masters at Work,
New York Dolls,
Lungfish,
10cc,
Archie Shepp,
Nick Fraelich,
Yusef Lateef,
Visionaries,LMNO, T- Love & Iriscience,
Glenn Branca,
Boz Scaggs,
The Vogues,
Roxy Music,
Dead Boys,
the Association,
The Dirtbombs,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.