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 Rwanda and from Mexico City.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Toronto and Portland.
I'm losing my edge to the art-school Tehran 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 guitar 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 Blossom Toes to the crunk kids.
I played it at CBGB's.
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 Jacques Brel. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal techno 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
UT,
Soul II Soul,
Pantaleimon,
Eric Dolphy,
Zapp,
Ten City,
The New Christs,
Saccharine Trust,
Dave Gahan,
Darondo,
Amon Düül II,
Sam Rivers,
Black Bananas,
Byron Stingily,
the Association,
World's Most,
The Five Americans,
These Immortal Souls,
Maleditus Sound,
The Leaves,
The Raincoats,
Schoolly D,
The Fortunes,
Freddie Wadling,
Country Joe & The Fish,
Roxette,
Malaria!,
Richard Hell and the Voidoids,
Index,
Sarah Menescal,
Model 500,
Sugar Minott,
The Blackbyrds,
Jesper Dahlbäck,
Sandy B,
Slave,
Eric Copeland,
Davy DMX,
The Star Department,
Oblivians,
Dr. Dre and Snoop Doggy Dog,
Sad Lovers and Giants,
Icehouse,
Red Lorry Yellow Lorry,
The Fugs,
Panda Bear,
Scion,
James Chance & The Contortions,
Niagra,
Little Man,
Soul Sonic Force,
London Community Gospel Choir,
Funkadelic,
The Saints,
Bobby Hutcherson,
The Jesus and Mary Chain,
Boz Scaggs,
The Offenders,
L. Decosne,
Massinfluence,
Ornette Coleman,
Kauko Röyhkä ja Narttu,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.