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 Slovenia and from Spokane.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Tokyo.
I'm losing my edge to the art-school Edmonton 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 American Breed to the grime kids.
I played it at the Spitz.
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 Urselle. All the underground hits.
All Little Man tracks. I heard you have a vinyl of every A Certain Ratio 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 '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
The Music Machine,
Bluetip,
Parry Music,
Eve St. Jones,
Amazonics,
The Residents,
Bobby Sherman,
Unrelated Segments,
Mo-Dettes,
Jesper Dahlbäck,
Ossler,
Nils Olav,
Bill Near,
Arab on Radar,
Bobby Womack,
Rites of Spring,
The Divine Comedy,
Siglo XX,
Captain Beefheart & His Magic Band,
Lungfish,
The Cowsills,
Alison Limerick,
the Normal,
Connie Case,
Vladislav Delay,
Peter and Kerry,
Heavy D & The Boyz,
Major Organ And The Adding Machine,
The Walker Brothers,
Amon Düül,
Aural Exciters,
Donny Hathaway,
Minor Threat,
The Zeros,
Con Funk Shun,
Fad Gadget,
Man Parrish,
Intrusion,
Pole,
Sarah Menescal,
China Crisis,
The Peanut Butter Conspiracy,
the Association,
Sexual Harrassment,
Skarface,
Kings Of Tomorrow,
Pulsallama,
Orchestral Manoeuvres in the Dark,
Loose Ends,
Hot Snakes,
Frankie Knuckles,
Neil Young,
The Last Poets,
LL Cool J,
UT,
London Community Gospel Choir,
Camberwell Now,
Scrapy,
Electric Prunes,
Eli Mardock,
Max Romeo,
10cc,
New York Dolls, New York Dolls, New York Dolls, New York Dolls.
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.