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 Kiribati and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Shanghai 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Heavy D & The Boyz to the rock 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 Half Japanese. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Todd Rundgren 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 '60s cut and another box set from the '80s.
I hear you're buying a 808 and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Nick Fraelich record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
London Community Gospel Choir,
The Flesh Eaters,
the Association,
Orchestral Manoeuvres in the Dark,
Tres Demented,
The Electric Prunes,
New Order,
Magazine,
Gary Puckett & The Union Gap,
Angels of Light & Akron/Family,
Public Image Ltd.,
Lizzy Mercier Descloux,
Lebanon Hanover,
The American Breed,
Connie Case,
Junior Murvin,
H. Thieme,
The Cosmic Jokers,
Larry & the Blue Notes,
Dennis Brown,
Byron Stingily,
Robert Görl,
R.M.O.,
Barbara Tucker,
Oneida,
Fluxion,
Sällskapet,
Chrome,
This Heat,
Lou Reed & John Cale,
F. McDonald,
Altered Images,
The Young Rascals,
Wally Richardson,
Terrestrial Tones,
Dual Sessions,
One Last Wish,
Slave,
Art Ensemble Of Chicago,
The Fugs,
Fatback Band,
Aural Exciters,
Ice-T,
Cluster,
Talk Talk,
Crime,
Fad Gadget,
The Durutti Column,
AZ,
Pylon,
The Remains,
Depeche Mode,
Flipper,
Mad Mike,
Mark Hollis,
Khruangbin,
The Blackbyrds,
Zero Boys,
Moby Grape,
Unrelated Segments,
The Grass Roots,
Gerry Rafferty,
T.S.O.L.,
ABBA, ABBA, ABBA, ABBA.
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.