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 Uzbekistan and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1973.
I'm losing my edge.
To all the kids in Beijing and Salvador.
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 organ 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 Gories to the funk kids.
I played it at the Crocodile.
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 Maurizio. All the underground hits.
All Bobby Byrd tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Sound Behaviour,
Tres Demented,
The Divine Comedy,
Gang Green,
kango's stein massive,
Faraquet,
Ultra Naté,
Ronnie Foster,
Amazonics,
Bang On A Can,
Marshall Jefferson,
The Shadows of Knight,
David McCallum,
Bobbi Humphrey,
Bill Near,
Cecil Taylor,
The Modern Lovers,
Lucky Dragons,
The Vogues,
The Invisible,
Lonnie Liston Smith,
Mo-Dettes,
Ronan,
The Cure,
Average White Band,
Beasts of Bourbon,
Joyce Sims,
Connie Case,
Easy Going,
Brand Nubian,
Bootsy Collins,
Thompson Twins,
Massinfluence,
Matthew Halsall,
Sparks,
Lakeside,
Nick Fraelich,
The Cramps,
The Blues Magoos,
Joe Smooth,
Skaos,
Hasil Adkins,
Isaac Hayes,
Larry & the Blue Notes,
Crash Course in Science,
Pet Shop Boys,
Reagan Youth,
Barrington Levy,
Sun Ra Arkestra,
The Chocolate Watch Band,
Gabor Szabo,
Kauko Röyhkä ja Narttu,
Smog,
Sam Rivers,
the Soft Cell,
Brass Construction,
the Slits,
Can,
cv313,
Soul Sonic Force,
The Raincoats,
UT, UT, UT, UT.
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.