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 Costa Rica and from Tokyo.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Beijing and Edmonton.
I'm losing my edge to the art-school Lille 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Outsiders to the crunk kids.
I played it at CBGB's.
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 Tim Buckley. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Lungfish 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 '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
The Index,
Pharaoh Sanders and the Fire Engines,
Joe Finger,
The Mojo Men,
The Mighty Diamonds,
Organ,
Flamin' Groovies,
James Chance & The Contortions,
Essential Logic,
Susan Cadogan,
Sly & The Family Stone,
Thee Headcoats,
Scion,
Bob Dylan,
Mission of Burma,
Con Funk Shun,
Little Man,
Man Parrish,
Stiv Bators,
Ajijia Myrayebe,
Notorious Big And Bone Thugs,
Joensuu 1685,
Boz Scaggs,
The Royal Family And The Poor,
Super Lover Cee & Casanova Rud,
Judy Mowatt,
Shoche,
Sunsets and Hearts,
Parry Music,
New Age Steppers,
Junior Murvin,
Roxy Music,
The Walker Brothers,
Iggy Pop,
Jesper Dahlback,
Dual Sessions,
Lou Reed,
Section 25,
Rowland S Howard / Lydia Lunch,
Sight & Sound,
Major Organ And The Adding Machine,
Sarah Menescal,
Ultravox,
Richard Hell and the Voidoids,
Patti Smith,
Man Eating Sloth,
Von Mondo,
De La Soul & Jungle Brothers,
Slave,
The Beau Brummels,
Rufus Thomas,
Funkadelic,
Jeru the Damaja,
Marvin Gaye,
Eden Ahbez,
Negative Approach,
Amazonics,
Lyres,
Ten City,
It's A Beautiful Day,
Supertramp,
Faraquet,
Crooked Eye,
Warsaw, Warsaw, Warsaw, Warsaw.
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.