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 Luxembourg and from Calgary.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the organ 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 Roy Ayers Ubiquity to the dance 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 Arthur Verocai. All the underground hits.
All Nico tracks. I heard you have a vinyl of every The Velvet Underground 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a David McCallum record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Shuggie Otis,
Stetsasonic,
Popol Vuh,
Glenn Branca,
Larry & the Blue Notes,
Crispy Ambulance,
Yellowson,
Gang of Four,
Ornette Coleman,
Livin' Joy,
The Victims,
Nick Cave & The Bad Seeds,
Echo & the Bunnymen,
Flamin' Groovies,
LL Cool J,
Todd Rundgren,
Bronski Beat,
U.S. Maple,
The Divine Comedy,
Massinfluence,
Joe Smooth,
Patti Smith,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
China Crisis,
Barry Ungar,
The West Coast Pop Art Experimental Band,
Laurel Aitken,
Intrusion,
T. Rex,
Be Bop Deluxe,
Rhythm & Sound,
Mars,
Lalo Schifrin,
Ultra Naté,
Tomorrow,
Depeche Mode,
Manfred Mann's Earth Band,
The American Breed,
Aloha Tigers,
Notorious Big And Bone Thugs,
Parry Music,
Ice-T,
Matthew Halsall,
Sonny Sharrock,
The Skatalites,
Gil Scott-Heron & Brian Jackson,
Nirvana,
the Fania All-Stars,
The Human League,
Lungfish,
Ten City,
Skaos,
Oblivians,
Soul II Soul,
Theoretical Girls,
Donny Hathaway,
The United States of America,
The Fire Engines,
Liaisons Dangereuses,
Junior Murvin,
Monks, Monks, Monks, Monks.
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.