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 Panama and from Paris.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Lille and Spokane.
I'm losing my edge to the art-school Tokyo 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 Howard Jones to the rock kids.
I played it at the Hacienda.
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 David Axelrod. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Tommy Roe 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 '80s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Major Organ And The Adding Machine,
Bootsy's Rubber Band,
Laurel Aitken,
Marcia Griffiths,
The Raincoats,
Quadrant,
Delon & Dalcan,
Scrapy,
Clear Light,
Depeche Mode,
New Age Steppers,
The West Coast Pop Art Experimental Band,
Mo-Dettes,
The Dirtbombs,
Bluetip,
Underground Resistance,
Minor Threat,
Kaleidoscope,
The Doors,
Chris & Cosey,
Marine Girls,
The Barracudas,
10cc,
The Fall,
Swell Maps,
Bang On A Can,
Sam Rivers,
Echospace,
Q and Not U,
John Lydon,
The Names,
Sun Ra Arkestra,
Flipper,
Heavy D & The Boyz,
Captain Beefheart & His Magic Band,
The Gun Club,
The Slackers,
Barry Ungar,
Pussy Galore,
Rhythm & Sound,
Gian Franco Pienzio,
Tom Boy,
Maleditus Sound,
This Heat,
Stockholm Monsters,
World's Most,
Dual Sessions,
Man Parrish,
Liaisons Dangereuses,
Radiopuhelimet,
Royal Trux,
D'Angelo,
The Gladiators,
The Leaves,
Oblivians,
Roy Ayers,
The Monochrome Set,
Excepter,
Neil Young,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.