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 Fiji and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Lyon and Philadelphia.
I'm losing my edge to the art-school Paris 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 organ sounds with much patience.
I was there when Lou Reed 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 Joe Finger 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 Banda Bassotti. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every The Techniques 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Hashim,
Bootsy Collins,
Japan,
Suburban Knight,
Pole,
The Royal Family And The Poor,
The Standells,
Howard Jones,
DJ Sneak,
Cybotron,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sly & The Family Stone,
De La Soul & Jungle Brothers,
Los Fastidios,
DJ Style,
The Jesus and Mary Chain,
Liaisons Dangereuses,
Ohio Players,
Minnie Riperton,
Pulsallama,
Flamin' Groovies,
Traffic Nightmare,
Boogie Down Productions,
Ponytail,
Sällskapet,
Surgeon,
Rakim,
Sight & Sound,
Kayak,
Thinking Fellers Union Local 282,
Das Ding,
the Normal,
The Skatalites,
The Smoke,
Archie Shepp,
Fear,
Delon & Dalcan,
Liliput,
Camberwell Now,
Eric Copeland,
Connie Case,
The Remains,
Mary Jane Girls,
Rhythm & Sound,
The Detroit Cobras,
UT,
Suicide,
Terrestrial Tones,
Zero Boys,
The Saints,
Throbbing Gristle,
Marvin Gaye,
Lee Hazlewood,
Sixth Finger,
Amazonics,
The Mojo Men,
Groovy Waters,
Kings Of Tomorrow,
Barbara Tucker,
Marcia Griffiths,
Marc Almond,
ABC,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.