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 Korea South and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Salvador and New York.
I'm losing my edge to the art-school Spokane 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 oboe 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 Yellowson to the funk 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 Fort Wilson Riot. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Robert Hood record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Sparks,
L. Decosne,
Niagra,
The Index,
Stiv Bators,
Strawberry Alarm Clock,
Kango’s Stein Massive,
Girls At Our Best!,
The Slackers,
The Wake,
Dave Gahan,
Sugar Minott,
Ken Boothe,
Fear,
Lou Reed & John Cale,
Brick,
Eli Mardock,
Reagan Youth,
Lower 48,
The Cure,
Chris & Cosey,
Flamin' Groovies,
Deutsch Amerikanische Freundschaft,
Stockholm Monsters,
Buzzcocks,
Marvin Gaye,
KRS-One,
Todd Rundgren,
Das Ding,
Harmonia,
The West Coast Pop Art Experimental Band,
F. McDonald,
Gil Scott-Heron & Brian Jackson,
Eve St. Jones,
Dennis Brown,
Bad Manners,
The Evens,
Hot Snakes,
Beasts of Bourbon,
Kayak,
Kevin Saunderson,
Rowland S Howard / Lydia Lunch,
Supertramp,
Rahsaan Roland Kirk,
The Pop Group,
Grauzone,
Fluxion,
Mission of Burma,
Lucky Dragons,
The Blackbyrds,
The Stooges,
Terror Squad Feat. Camron,
Chrome,
Red Lorry Yellow Lorry,
Goldenarms,
Cymande,
Audionom,
The Electric Prunes,
The Remains,
Make Up,
Cabaret Voltaire,
Ultravox, Ultravox, Ultravox, Ultravox.
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.