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 Guyana and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1966 to 1970.
I'm losing my edge.
To all the kids in Portland and Bologna.
I'm losing my edge to the art-school Manila 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 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 Sonny Sharrock to the punk kids.
I played it at Cafe Wha.
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 The Smoke. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every DeepChord presents Echospace record on German import.
I heard that you have a white label of every seminal rap 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 guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visionaries,LMNO, T- Love & Iriscience,
Desert Stars,
Whodini,
Eden Ahbez,
Pylon,
Kango’s Stein Massive,
Oppenheimer Analysis,
Tim Buckley,
Ronan,
Ludus,
Avey Tare & Kría Brekkan,
The Mighty Diamonds,
John Lydon,
One Last Wish,
Au Pairs,
Fear,
Sonny Sharrock,
Hardrive,
Joensuu 1685,
Avey Tare,
Jesper Dahlbäck,
Roy Ayers Ubiquity,
Gang Starr,
Tomorrow,
Red Lorry Yellow Lorry,
The Residents,
Stereo Dub,
Rhythm & Sound,
Bad Manners,
Blake Baxter,
The West Coast Pop Art Experimental Band,
Ultimate Spinach,
Boogie Down Productions,
Sticky Fingaz feat. Raekwon,
Hasil Adkins,
Alphaville,
the Slits,
Dark Day,
The Men They Couldn't Hang,
R.M.O.,
Hot Snakes,
Yusef Lateef,
FM Einheit,
Connie Case,
The Evens,
Von Mondo,
a-ha,
Harpers Bizarre,
Television,
Eric Dolphy,
Cameo,
DNA,
The Electric Prunes,
Cymande,
Lalann,
Rod Modell,
Eddi Front,
The Cowsills,
Vaughan Mason & Crew,
The New Christs,
Stetsasonic,
Notorious Big And Bone Thugs,
Donny Hathaway, Donny Hathaway, Donny Hathaway, Donny Hathaway.
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.