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 Papua New Guinea and from Lagos.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Lagos and Manchester.
I'm losing my edge to the art-school Seoul 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 rock kids.
I played it at the Roxy.
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 Average White Band. All the underground hits.
All AZ tracks. I heard you have a vinyl of every Smog record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
The Cosmic Jokers,
X-101,
Rites of Spring,
Wolf Eyes,
Rhythim Is Rhythim,
Eve St. Jones,
Eli Mardock,
Max Romeo,
Make Up,
Blake Baxter,
Banda Bassotti,
Amon Düül II,
Moss Icon,
Hoover,
Cal Tjader,
Scott Walker,
Loose Ends,
The Electric Prunes,
Sex Pistols,
The Gap Band,
Marvin Gaye,
Soul Sonic Force,
Flipper,
The Martian,
Eurythmics,
Porter Ricks,
Black Sheep,
Monks,
Slave,
Whodini,
Buzzcocks,
Silicon Teens,
The Monks,
Eric Dolphy,
Dark Day,
Kool Moe Dee,
Vladislav Delay,
Eric Copeland,
Panda Bear,
Joyce Sims,
Aaron Thompson,
Eric B and Rakim,
Q65,
New York Dolls,
John Coltrane,
The Fuzztones,
Newcleus,
Connie Case,
Judy Mowatt,
Tropical Tobacco,
Severed Heads,
Lightning Bolt,
Avey Tare,
Jeff Mills,
Bluetip,
Tim Buckley,
Kurtis Blow,
Eden Ahbez,
Shuggie Otis,
the Fania All-Stars,
Black Bananas,
John Holt,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.