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 Philippines and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
I'm losing my edge to the art-school Houston 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 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 Slave to the disco kids.
I played it at Trash.
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 Pussy Galore. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal grunge 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
Von Mondo,
Dual Sessions,
The Selecter,
Sam Rivers,
Visage,
Kool G Rap & DJ Polo,
Glambeats Corp.,
Agitation Free,
Barrington Levy,
Kango’s Stein Massive,
Eli Mardock,
Hashim,
Gichy Dan,
Arthur Verocai,
Lizzy Mercier Descloux,
The Index,
The Red Krayola,
The Fortunes,
Groovy Waters,
Rahsaan Roland Kirk,
Crooked Eye,
Skriet,
Bobby Hutcherson,
Lightning Bolt,
Röyhkä ja Rättö ja Lehtisalo,
Pantaleimon,
Slick Rick,
Sexual Harrassment,
Panda Bear,
The Barracudas,
Eddi Front,
Niagra,
Tommy Roe,
The Victims,
Mandrill,
Stereo Dub,
Bobby Byrd,
X-101,
Harpers Bizarre,
Rowland S Howard / Lydia Lunch,
Neil Young & Crazy Horse,
Graham Central Station,
Flamin' Groovies,
Nick Fraelich,
Tropical Tobacco,
Q and Not U,
Ralphi Rosario,
David McCallum,
Andrew Hill,
the Fania All-Stars,
David Axelrod,
Skarface,
Malaria!,
Spandau Ballet,
Minutemen,
The Evens,
Ohio Players,
Andrew Ashong & Theo Parrish,
Dr. Dre and Snoop Doggy Dog,
Bootsy's Rubber Band,
New York Dolls,
Kerri Chandler,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.