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 Iran and from Edmonton.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
I'm losing my edge to the art-school Hong Kong 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 Neu! practice in a loft in Düsseldorf.
I was working on the mellotron 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 Aaron Thompson to the dance kids.
I played it at the Troubador.
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 Barry Ungar. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every The Motions 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 '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lakeside record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Lalo Schifrin,
Eli Mardock,
John Coltrane,
Skriet,
Amon Düül,
Pete Rock & C.L. Smooth,
Mantronix,
Quadrant,
Lightning Bolt,
Radio Birdman,
Don Cherry,
Nirvana,
8 Eyed Spy,
The Associates,
Kenny Larkin,
Nik Kershaw,
New York Dolls,
Leonard Cohen,
Bizarre Inc.,
Scott Walker,
Joy Division,
Roy Ayers Ubiquity,
Sunsets and Hearts,
Kool G Rap & DJ Polo,
Bootsy Collins,
The Dirtbombs,
Barrington Levy,
Reuben Wilson,
Organ,
Shuggie Otis,
The Buckinghams,
Parry Music,
Fifty Foot Hose,
Symarip,
Funky Four + One,
Procol Harum,
Aaron Thompson,
The Smiths,
Lalann,
Tubeway Army,
The Angels of Light,
David McCallum,
The Seeds,
UT,
Joensuu 1685,
Hasil Adkins,
Lungfish,
Ken Boothe,
The Zeros,
Louis and Bebe Barron,
Fort Wilson Riot,
The Divine Comedy,
Lizzy Mercier Descloux,
Terror Squad Feat. Camron,
Heavy D & The Boyz,
Dead Boys,
Hardrive,
The Velvet Underground,
Gichy Dan,
Donald Byrd,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.