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 Austria and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1973.
I'm losing my edge.
To all the kids in Manila and Beijing.
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 linndrum 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 Faust to the grunge 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 The Sonics. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
The Blues Magoos,
OOIOO,
Scratch Acid,
Boogie Down Productions,
Procol Harum,
Gerry Rafferty,
The Gun Club,
Man Eating Sloth,
Audionom,
Sonny Sharrock,
Mad Mike,
The Associates,
Faraquet,
Steve Hackett,
Electric Light Orchestra,
Khruangbin,
Alice Coltrane,
Joyce Sims,
Loose Ends,
The Smiths,
Minny Pops,
Andrew Hill,
Donald Byrd,
KRS-One,
Bang On A Can,
Monks,
Pere Ubu,
The Victims,
Buzzcocks,
Lakeside,
Marc Almond,
The Leaves,
kango's stein massive,
Stetsasonic,
Jeru the Damaja,
Eyeless In Gaza,
Yazoo,
Peter and Kerry,
Drexciya,
The Sonics,
Peter Gordon & Love of Life Orchestra,
Lonnie Liston Smith,
Symarip,
Darondo,
Cheater Slicks,
Connie Case,
Theoretical Girls,
The Flesh Eaters,
Mantronix,
Visage,
Roxette,
UT,
Cybotron,
Lalo Schifrin,
The Star Department,
Arab on Radar,
Terrestrial Tones,
Japan,
Qualms,
Aaron Thompson,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.