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 Uganda and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Stockholm.
I'm losing my edge to the art-school Tokyo 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Roy Ayers Ubiquity to the disco kids.
I played it at the Spitz.
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 Altered Images. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
The Red Krayola,
The Star Department,
Bush Tetras,
The Cowsills,
Eric Dolphy,
Glambeats Corp.,
Skaos,
Connie Case,
Cymande,
Gang of Four,
The Zeros,
The Martian,
Public Image Ltd.,
Piero Umiliani,
Marc Almond,
Sun Ra Arkestra,
Average White Band,
Organ,
Blake Baxter,
John Holt,
Kings Of Tomorrow,
The Human League,
Black Sheep,
The Skatalites,
Gang Starr,
Supertramp,
The Move,
Sunsets and Hearts,
Anthony Braxton,
Television,
Charles Mingus,
Fugazi,
Sun Ra,
Wings,
Nation of Ulysses,
Graham Central Station,
Easy Going,
Dorothy Ashby,
Theoretical Girls,
Stockholm Monsters,
Bobby Womack,
Eurythmics,
Fort Wilson Riot,
Albert Ayler,
Gang Gang Dance,
The Five Americans,
Amon Düül,
Janne Schatter,
Notorious BIG live in Amsterdam,
The Raincoats,
Hardrive,
Donny Hathaway,
Wire,
Sun City Girls,
London Community Gospel Choir,
Amon Düül II,
Black Bananas,
The Mighty Diamonds,
Roy Ayers,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.