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 Moldova and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 Madrid and Edmonton.
I'm losing my edge to the art-school Lyon 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 clarinet 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 Lindisfarne to the rap kids.
I played it at the Roxy.
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 Janne Schatter. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
The Dave Clark Five,
Trumans Water,
The Blackbyrds,
Crime,
Albert Ayler,
Essential Logic,
EPMD,
Jesper Dahlback,
Banda Bassotti,
Eyeless In Gaza,
Isaac Hayes,
Terrestrial Tones,
Vladislav Delay,
The Motions,
Main Source,
The Blues Magoos,
Siouxsie and the Banshees,
Ten City,
Scrapy,
Pantytec,
Cabaret Voltaire,
Jesper Dahlbäck,
Parry Music,
DJ Sneak,
Kayak,
Bizarre Inc.,
The Chocolate Watch Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Boogie Down Productions,
Black Flag,
Flash Fearless,
Jeru the Damaja,
Public Image Ltd.,
Bluetip,
Kevin Saunderson,
Junior Murvin,
Newcleus,
Grey Daturas,
Lyres,
Country Teasers,
Ossler,
Man Parrish,
Todd Terry,
The Busters,
World's Most,
The Monochrome Set,
Sixth Finger,
The Doobie Brothers,
Gabor Szabo,
Robert Wyatt,
Can,
Outsiders,
Thinking Fellers Union Local 282,
Judy Mowatt,
Kenny Larkin,
Goldenarms,
Buzzcocks,
Rahsaan Roland Kirk,
Matthew Halsall,
Masters at Work,
Orchestral Manoeuvres in the Dark,
Ronan,
The Cramps, The Cramps, The Cramps, The Cramps.
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.