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 Congo and from Tehran.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Bremen.
I'm losing my edge to the art-school Bologna 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 Donald Fagen 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 Scratch Acid to the dance 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 Crispian St. Peters. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
Minny Pops,
James White and The Blacks,
Gabor Szabo,
These Immortal Souls,
Urselle,
Fat Boys,
Bobby Womack,
Hardrive,
Sällskapet,
Shoche,
Lou Christie,
Steve Hackett,
Con Funk Shun,
Henry Cow,
Popol Vuh,
The Cowsills,
Quantec,
The Slits,
Ludus,
Nik Kershaw,
Eric B and Rakim,
Jacques Brel,
Stiv Bators,
Blancmange,
Scrapy,
Babytalk,
Clear Light,
Moebius,
Altered Images,
Blossom Toes,
Graham Central Station,
Visionaries,LMNO, T- Love & Iriscience,
Rites of Spring,
The Durutti Column,
Ituana,
the Fania All-Stars,
Deutsch Amerikanische Freundschaft,
Sex Pistols,
The Barracudas,
Monks,
Ultravox,
Notorious Big And Bone Thugs,
Gian Franco Pienzio,
Yellowson,
Hot Snakes,
Soulsonic Force,
The Alarm Clocks,
Avey Tare's Slasher Flicks,
Matthew Bourne,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Country Joe & The Fish,
Yazoo,
Thompson Twins,
Pulsallama,
Motorama,
the Soft Cell,
The Real Kids,
Cymande,
Neu!,
Dawn Penn,
The Invisible, The Invisible, The Invisible, The Invisible.
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.