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 East Timor and from Philadelphia.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1966 to 1971.
I'm losing my edge.
To all the kids in New York and Tokyo.
I'm losing my edge to the art-school Accra 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Easy Going to the grime kids.
I played it at the Astoria.
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 Brand Nubian. All the underground hits.
All Technova tracks. I heard you have a vinyl of every Eve St. Jones record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Arab on Radar,
DJ Style,
Altered Images,
Minny Pops,
LL Cool J,
Danielle Patucci,
The Searchers,
Spoonie Gee,
The Dirtbombs,
Underground Resistance,
Peter Gordon & Love of Life Orchestra,
Royal Trux,
Richard Hell and the Voidoids,
Ajijia Myrayebe,
Oppenheimer Analysis,
Scrapy,
Pantytec,
Kenny Larkin,
The Durutti Column,
Amon Düül II,
T. Rex,
The Golliwogs,
Cameo,
Larry & the Blue Notes,
Neu!,
Kevin Saunderson,
Eric B and Rakim,
Röyhkä ja Rättö ja Lehtisalo,
Tears for Fears,
Charles Mingus,
Metal Thangz,
The Smiths,
Barclay James Harvest,
Kings Of Tomorrow,
The Smoke,
Fad Gadget,
The Royal Family And The Poor,
The Tremeloes,
Magma,
Isaac Hayes,
Goldenarms,
Masters at Work,
Rapeman,
Notorious Big And Bone Thugs,
Loose Ends,
The Barracudas,
The Alarm Clocks,
Harmonia,
Bauhaus,
John Holt,
The Victims,
Lou Reed & John Cale,
Kool Moe Dee,
The Litter,
Deepchord,
Aloha Tigers,
E-Dancer,
Selector Dub Narcotic,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.