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 Kiribati and from Lyon.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Tehran and Calgary.
I'm losing my edge to the art-school Paris 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Rufus Thomas to the rock kids.
I played it at the Hacienda.
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 Yusef Lateef. All the underground hits.
All Brick tracks. I heard you have a vinyl of every Dead Boys 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 '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Althea and Donna,
Accadde A,
Can,
The Doors,
The Pretty Things,
Roxy Music,
Girls At Our Best!,
The Associates,
Lou Reed & John Cale,
Jesper Dahlback,
Porter Ricks,
Minnie Riperton,
Byron Stingily,
Gong,
Grauzone,
Drive Like Jehu,
Vainqueur,
The Fall,
Lou Reed,
Grandmaster Flash,
Ajijia Myrayebe,
Dawn Penn,
Terry Callier,
Lou Reed & Metallica,
Electric Prunes,
Gregory Isaacs,
Slick Rick,
Make Up,
The Motions,
June Days,
Iggy Pop,
Second Layer,
Lee Hazlewood,
Sun City Girls,
Alton Ellis,
Traffic Nightmare,
The Mummies,
Joensuu 1685,
The Cure,
The Names,
Khruangbin,
Supertramp,
Thinking Fellers Union Local 282,
Skriet,
Quadrant,
Sarah Menescal,
Wings,
Bobbi Humphrey,
8 Eyed Spy,
ABBA,
the Bar-Kays,
Manfred Mann's Earth Band,
Andrew Hill,
The Leaves,
Gang Green,
Arthur Verocai,
The Selecter,
Half Japanese,
Bluetip,
Donald Byrd, Donald Byrd, Donald Byrd, Donald Byrd.
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.