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 Mali and from Houston.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
I'm losing my edge to the art-school Glasgow 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Lindisfarne to the funk kids.
I played it at the Hacienda.
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 Al Stewart. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal funk 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 snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Joe Finger record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Isaac Hayes,
Robert Wyatt,
The Monochrome Set,
Interpol,
Steve Hackett,
Ice-T,
Anakelly,
The Invisible,
The Victims,
Roy Ayers Ubiquity,
The Five Americans,
Larry & the Blue Notes,
Camberwell Now,
Chris & Cosey,
Boredoms,
Davy DMX,
Captain Beefheart & His Magic Band,
Infiniti,
Stereo Dub,
Negative Approach,
Vaughan Mason & Crew,
Donald Byrd,
Eve St. Jones,
Severed Heads,
Archie Shepp,
Aural Exciters,
Aswad,
Prince Buster,
48th St. Collective,
Whodini,
Cal Tjader,
Don Cherry,
Skarface,
Byron Stingily,
Rowland S Howard / Lydia Lunch,
Gabor Szabo,
Tubeway Army,
The Knickerbockers,
The Wake,
Scan 7,
Talk Talk,
Orchestral Manoeuvres in the Dark,
Dual Sessions,
One Last Wish,
Faust,
Basic Channel,
The Slackers,
Electric Light Orchestra,
Siouxsie and the Banshees,
The Black Dice,
Black Moon,
Ultra Naté,
Vainqueur,
Angry Samoans,
The Saints,
Deakin,
Skriet,
The Sound,
a-ha,
Skaos,
Depeche Mode,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.