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 Tuvalu and from New York.
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 1972.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Sao Paulo 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 Unrelated Segments to the electroclash kids.
I played it at CBGB's.
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 Eric Dolphy. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Girls At Our Best!,
Andrew Ashong & Theo Parrish,
Goldenarms,
Severed Heads,
Hardrive,
Kerri Chandler,
Eddi Front,
Freddie Wadling,
Siouxsie and the Banshees,
Tommy Roe,
Kurtis Blow,
Absolute Body Control,
Justin Hinds & The Dominoes,
Tears for Fears,
Marcia Griffiths,
Barclay James Harvest,
Scott Walker + Sunn O))),
Dawn Penn,
Ronan,
Organ,
Brick,
Sticky Fingaz feat. Raekwon,
The Evens,
Inner City,
Joey Negro,
Susan Cadogan,
Dark Day,
A Flock of Seagulls,
Delta 5,
Aloha Tigers,
Fela Kuti,
Malaria!,
Sly & The Family Stone,
Underground Resistance,
Bobby Sherman,
Rod Modell,
Camberwell Now,
The Count Five,
Ken Boothe,
Mary Jane Girls,
Todd Terry,
The Index,
John Foxx,
Aural Exciters,
The Residents,
Bootsy's Rubber Band,
Flamin' Groovies,
Ohio Players,
Rekid,
New York Dolls,
Loose Ends,
David Axelrod,
World's Most,
Frankie Knuckles,
Cameo,
John Holt,
X-101,
The Pretty Things,
Agitation Free,
Gong,
Stereo Dub,
Barbara Tucker,
The West Coast Pop Art Experimental Band,
Niagra, Niagra, Niagra, Niagra.
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.