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 Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Jakarta.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Man Parrish to the grunge 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 Pylon. All the underground hits.
All ABC tracks. I heard you have a vinyl of every Deakin 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 '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Strawberry Alarm Clock,
ABBA,
Soulsonic Force,
Marvin Gaye,
Groovy Waters,
Neil Young & Crazy Horse,
Jesper Dahlbäck,
Qualms,
Scott Walker + Sunn O))),
The West Coast Pop Art Experimental Band,
The Neon Judgement,
Barrington Levy,
Nick Cave & The Bad Seeds,
AZ,
U.S. Maple,
Roger Hodgson,
Von Mondo,
Laurel Aitken,
Hashim,
Schoolly D,
Eurythmics,
X-101,
Peter Gordon & Love of Life Orchestra,
The J.B.'s,
Mo-Dettes,
Fluxion,
Chris & Cosey,
Hoover,
Theoretical Girls,
Orchestral Manoeuvres in the Dark,
Rahsaan Roland Kirk,
Judy Mowatt,
The Smoke,
Bobbi Humphrey,
Hot Snakes,
Jerry Gold Smith,
Kool Moe Dee,
Anthony Braxton,
Nirvana,
Subhumans,
Newcleus,
The Remains,
Eve St. Jones,
Arthur Verocai,
Man Parrish,
Wally Richardson,
Darondo,
The Seeds,
Alison Limerick,
Vaughan Mason & Crew,
Marmalade,
Eyeless In Gaza,
Spandau Ballet,
Trumans Water,
Faraquet,
The Cramps,
Agent Orange,
The Birthday Party,
Pete Rock & C.L. Smooth,
Harry Pussy,
Lalo Schifrin,
Glambeats Corp.,
Q65, Q65, Q65, Q65.
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.