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 Moldova and from Woodstock.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Lille and Milan.
I'm losing my edge to the art-school Halifax 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 sitar 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 Theoretical Girls to the electroclash kids.
I played it at the Astoria.
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 Michelle Simonal. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
The Names,
Harpers Bizarre,
La Düsseldorf,
Kaleidoscope,
In Retrospect,
Lonnie Liston Smith,
Carl Craig,
Vladislav Delay,
Lou Reed,
Delon & Dalcan,
Kas Product,
Desert Stars,
Funkadelic,
Pylon,
the Germs,
the Association,
Oppenheimer Analysis,
Camberwell Now,
Sonny Sharrock,
Tears for Fears,
The Walker Brothers,
The Cosmic Jokers,
Popol Vuh,
Beasts of Bourbon,
Nick Fraelich,
The Doobie Brothers,
Roxette,
U.S. Maple,
Captain Beefheart & His Magic Band,
Roy Ayers,
Andrew Hill,
Connie Case,
Sun Ra,
Barry Ungar,
Angry Samoans,
Livin' Joy,
Gong,
Bobby Sherman,
Echospace,
Ultra Naté,
Agent Orange,
Jesper Dahlback,
Outsiders,
Radio Birdman,
Ice-T,
Crime,
Television,
The Black Dice,
Marvin Gaye,
Grauzone,
Kango’s Stein Massive,
The Tremeloes,
Kool G Rap & DJ Polo,
Lou Reed & John Cale,
Bobby Hutcherson,
Tom Boy,
The Moleskins,
Boz Scaggs,
Cameo,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.