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 Cameroon and from Sao Paulo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Beijing 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 rhodes 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 Nas to the rap 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 Jesus and Mary Chain. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
Pantytec,
Mantronix,
Althea and Donna,
Dawn Penn,
Soul Sonic Force,
This Heat,
Yazoo,
Blake Baxter,
Lyres,
Tears for Fears,
Siouxsie and the Banshees,
The Cosmic Jokers,
Animal Collective,
Liliput,
Bauhaus,
Lou Reed & John Cale,
Kurtis Blow,
Marc Almond,
Gian Franco Pienzio,
Gang of Four,
The Alarm Clocks,
Warsaw,
Kaleidoscope,
Lalann,
Harry Pussy,
Gerry Rafferty,
Maurizio,
The Move,
H. Thieme,
The Monks,
Qualms,
Jawbox,
Hot Snakes,
Grey Daturas,
Fat Boys,
Sparks,
Lower 48,
The Raincoats,
Faraquet,
The Techniques,
Electric Prunes,
Sight & Sound,
Connie Case,
Stetsasonic,
The New Christs,
Los Fastidios,
Gary Puckett & The Union Gap,
The Seeds,
EPMD,
R.M.O.,
The Standells,
John Coltrane,
Radiohead,
Icehouse,
Heavy D & The Boyz,
Wighnomy Brothers & Robag Wruhme,
Masters at Work,
Sugar Minott,
Sister Nancy,
Slick Rick,
Sällskapet,
Absolute Body Control,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.