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 Malawi and from Paris.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Jakarta.
I'm losing my edge to the art-school Lyon 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the clarinet 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 Skriet to the techno 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 Cluster. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Richard Hell and the Voidoids record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
The Real Kids,
The Martian,
Skriet,
Justin Hinds & The Dominoes,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Barracudas,
Ken Boothe,
Easy Going,
Neu!,
Brothers Johnson,
Amazonics,
Ten City,
Black Sheep,
Half Japanese,
Lyres,
Reagan Youth,
Subhumans,
The Cowsills,
James Chance & The Contortions,
Heaven 17,
Bootsy Collins,
Man Eating Sloth,
The Raincoats,
Gang Gang Dance,
The Neon Judgement,
Strawberry Alarm Clock,
Kas Product,
Kool Moe Dee,
Terror Squad Feat. Camron,
Smog,
The Dead C,
Aloha Tigers,
Pulsallama,
Sam Rivers,
Tears for Fears,
Deutsch Amerikanische Freundschaft,
Loose Ends,
Josef K,
Jawbox,
Black Bananas,
Röyhkä ja Rättö ja Lehtisalo,
Funkadelic,
The Doobie Brothers,
Young Marble Giants,
The Divine Comedy,
Ituana,
Scratch Acid,
Avey Tare,
Ice-T,
Joy Division,
Lindisfarne,
the Germs,
Piero Umiliani,
Country Teasers,
Soul II Soul,
Hasil Adkins,
Yaz,
Warren Ellis,
Black Pus,
Crooked Eye,
Excepter,
The Durutti Column,
Ornette Coleman,
Alphaville, Alphaville, Alphaville, Alphaville.
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.