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 Burkina and from Beijing.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1978.
I'm losing my edge.
To all the kids in Halifax and Mexico City.
I'm losing my edge to the art-school Edmonton 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Roger Hodgson to the jazz kids.
I played it at Trash.
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 Grandmaster Flash and the Furious Five. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
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 Camberwell Now record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Rotary Connection,
Theoretical Girls,
MDC,
The Fuzztones,
Lou Reed & Metallica,
Severed Heads,
The Music Machine,
Desert Stars,
Gil Scott-Heron and Jamie xx,
Kaleidoscope,
Avey Tare & Kría Brekkan,
Steve Hackett,
Fluxion,
Rhythm & Sound,
Crooked Eye,
Stetsasonic,
48th St. Collective,
Rowland S Howard / Lydia Lunch,
Al Stewart,
Matthew Bourne,
Pantytec,
Make Up,
Half Japanese,
Drexciya,
The Gories,
Janne Schatter,
Gang Starr,
Eve St. Jones,
The Tremeloes,
The Mojo Men,
Magazine,
The Pop Group,
The Fall,
One Last Wish,
Jacques Brel,
Little Man,
Black Bananas,
The Index,
Traffic Nightmare,
Delon & Dalcan,
The Beau Brummels,
Notorious Big And Bone Thugs,
Ronnie Foster,
The Young Rascals,
Barrington Levy,
World's Most,
Sarah Menescal,
The West Coast Pop Art Experimental Band,
Cabaret Voltaire,
Gary Puckett & The Union Gap,
The Martian,
Blancmange,
John Holt,
Fat Boys,
The Blackbyrds,
Piero Umiliani,
The Leaves,
It's A Beautiful Day,
Lonnie Liston Smith,
Buzzcocks,
Hardrive,
Bobby Sherman,
Zapp, Zapp, Zapp, Zapp.
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.