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 Israel and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Tehran 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 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 Grandmaster Flash and the Furious Five to the punk 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 The Motions. All the underground hits.
All The Shadows of Knight tracks. I heard you have a vinyl of every Unwound record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
A Flock of Seagulls,
The Moleskins,
Alison Limerick,
Cabaret Voltaire,
Eden Ahbez,
Organ,
Pierre Henry,
Roxy Music,
Jeff Lynne,
Boredoms,
Eddi Front,
This Heat,
Rod Modell,
David Bowie,
Pantytec,
Interpol,
Procol Harum,
Sugar Minott,
David Axelrod,
Yellowson,
Tomorrow,
Eric B and Rakim,
Gabor Szabo,
The Selecter,
Warren Ellis,
Major Organ And The Adding Machine,
In Retrospect,
Hardrive,
Eurythmics,
Matthew Bourne,
Amon Düül II,
Scott Walker,
Oblivians,
Roy Ayers Ubiquity,
Ice-T,
The Royal Family And The Poor,
a-ha,
The Gap Band,
Mo-Dettes,
Kool Moe Dee,
Be Bop Deluxe,
The Peanut Butter Conspiracy,
Negative Approach,
Subhumans,
Easy Going,
The Kinks,
Anakelly,
Marshall Jefferson,
Maleditus Sound,
The Mighty Diamonds,
Stereo Dub,
Ponytail,
Lizzy Mercier Descloux,
Quadrant,
Peter Gordon & Love of Life Orchestra,
Tubeway Army,
Warsaw,
Spoonie Gee,
Neil Young & Crazy Horse,
Section 25, Section 25, Section 25, Section 25.
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.