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 Ireland and from Cairo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Cairo and Woodstock.
I'm losing my edge to the art-school Jakarta 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 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 Steve Hackett to the disco kids.
I played it at the Crocodile.
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 Crash Course in Science. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Swans,
Babytalk,
Camberwell Now,
The Alarm Clocks,
Boredoms,
The Sound,
Television,
Peter and Kerry,
Gil Scott-Heron & Brian Jackson,
The Golliwogs,
The Leaves,
Pharaoh Sanders and the Fire Engines,
Soulsonic Force,
Sparks,
Siouxsie and the Banshees,
Scratch Acid,
Louis and Bebe Barron,
The Kinks,
Ituana,
Deadbeat,
Jesper Dahlbäck,
Organ,
Jandek,
Whodini,
Crispy Ambulance,
Nas,
The New Christs,
The Music Machine,
Underground Resistance,
Amon Düül II,
Spoonie Gee,
The Stooges,
a-ha,
Japan,
The Last Poets,
Lyres,
Rekid,
Icehouse,
Oneida,
The Victims,
Stereo Dub,
Nils Olav,
Eurythmics,
Todd Terry,
Ultramagnetic MC's,
Rotary Connection,
Fatback Band,
Fugazi,
Marmalade,
Kurtis Blow,
Young Marble Giants,
Sun Ra Arkestra,
The Red Krayola,
Justin Hinds & The Dominoes,
Scrapy,
Ralphi Rosario,
Sonny Sharrock,
Pantaleimon,
Blake Baxter,
The Durutti Column,
De La Soul & Jungle Brothers,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.