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 San Marino and from Hong Kong.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Houston and Tehran.
I'm losing my edge to the art-school Bremen 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 Selda practice in a loft in Istanbul.
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 John Holt to the grime kids.
I played it at the Crocodile.
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 Harpers Bizarre. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Urselle 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Angels of Light,
The Dirtbombs,
Lebanon Hanover,
Sunsets and Hearts,
Glambeats Corp.,
Ultravox,
48th St. Collective,
Dr. Dre and Snoop Doggy Dog,
L. Decosne,
Crash Course in Science,
Deutsch Amerikanische Freundschaft,
Bizarre Inc.,
The Motions,
Marvin Gaye,
Mo-Dettes,
Erasure,
Warren Ellis,
the Sonics,
Prince Buster,
Sun City Girls,
Main Source,
Tears for Fears,
Thinking Fellers Union Local 282,
Bauhaus,
Bootsy's Rubber Band,
Whodini,
X-102,
John Lydon,
Eurythmics,
Swans,
Shuggie Otis,
DeepChord presents Echospace,
Stetsasonic,
Quando Quango,
The Neon Judgement,
Wolf Eyes,
Fad Gadget,
Pet Shop Boys,
Jacques Brel,
Symarip,
Massinfluence,
Gichy Dan,
Bobbi Humphrey,
The Last Poets,
Niagra,
Larry & the Blue Notes,
The Real Kids,
Flamin' Groovies,
Patti Smith,
FM Einheit,
The Cramps,
Ronan,
Lou Reed,
The Velvet Underground,
the Normal,
KRS-One,
CMW,
The Leaves,
Second Layer,
Roxette,
PIL,
Model 500,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.