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 Gabon and from Bremen.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1979.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Accra 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 organ 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 Fluxion to the punk kids.
I played it at the Spitz.
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 B.T. Express. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Kool Moe Dee 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 '90s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Lee Hazlewood,
Kayak,
Bobby Womack,
Animal Collective,
Popol Vuh,
the Association,
Crash Course in Science,
Sugar Minott,
Peter & Gordon,
Make Up,
Japan,
Kerri Chandler,
Angry Samoans,
Juan Atkins,
Camouflage,
The Knickerbockers,
The Index,
Lakeside,
Captain Beefheart & His Magic Band,
Derrick Morgan,
Ken Boothe,
Dawn Penn,
New Order,
Black Moon,
Pet Shop Boys,
Nation of Ulysses,
Brass Construction,
Zapp,
Jacques Brel,
Louis and Bebe Barron,
Big Daddy Kane,
Cal Tjader,
Michelle Simonal,
Lalann,
Camberwell Now,
The Chocolate Watch Band,
The Beau Brummels,
U.S. Maple,
Crispian St. Peters,
Sparks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gian Franco Pienzio,
Lalo Schifrin,
K-Klass,
David Axelrod,
the Fania All-Stars,
A Flock of Seagulls,
Electric Prunes,
Sight & Sound,
Jesper Dahlback,
Ohio Players,
Infiniti,
Judy Mowatt,
T. Rex,
The Sisters of Mercy,
Ponytail,
Jesper Dahlbäck,
Intrusion,
The Remains,
Soft Cell,
The Offenders,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.