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 Argentina and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1978.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Sao Paulo 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 marimba sounds with much patience.
I was there when Holger Czukay 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 The Modern Lovers to the electroclash 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 Roger Hodgson. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
Derrick Morgan,
Dennis Brown,
Kango’s Stein Massive,
David McCallum,
Deakin,
Agent Orange,
Banda Bassotti,
Steve Hackett,
Minnie Riperton,
kango's stein massive,
Swans,
Gil Scott-Heron and Jamie xx,
Kauko Röyhkä ja Narttu,
Patti Smith,
Absolute Body Control,
The Jesus and Mary Chain,
Scan 7,
Can,
David Bowie,
Jeff Mills,
Amon Düül,
The Divine Comedy,
The Last Poets,
Davy DMX,
Bill Near,
Pierre Henry,
Wighnomy Brothers & Robag Wruhme,
Freddie Wadling,
Funkadelic,
LL Cool J,
Sun Ra Arkestra,
Sugar Minott,
Outsiders,
Matthew Bourne,
Harry Pussy,
Roy Ayers Ubiquity,
X-Ray Spex,
Notorious BIG live in Amsterdam,
Young Marble Giants,
Delta 5,
Model 500,
Bobby Byrd,
Beasts of Bourbon,
Cymande,
Visionaries,LMNO, T- Love & Iriscience,
Ronan,
Todd Rundgren,
Rotary Connection,
Public Image Ltd.,
The Cure,
Soulsonic Force,
Barclay James Harvest,
Agitation Free,
Slick Rick,
Japan,
DeepChord presents Echospace,
London Community Gospel Choir,
Eden Ahbez,
Black Pus,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.