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 Kazakhstan and from Glasgow.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Beijing 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 guitar 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 Qualms 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 Fatback Band. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Blancmange 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 '70s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bobbi Humphrey record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
The Busters,
Rites of Spring,
Sad Lovers and Giants,
Sällskapet,
The Music Machine,
The West Coast Pop Art Experimental Band,
Mr. Review,
Ponytail,
Kurtis Blow,
OOIOO,
The Motions,
New Order,
Flipper,
Tubeway Army,
Scientists,
Crime,
Grandmaster Flash and the Furious Five,
The Dead C,
The Detroit Cobras,
Masters at Work,
Erasure,
Arcadia,
Oneida,
The Remains,
Archie Shepp,
Maleditus Sound,
Boogie Down Productions,
Youth Brigade,
John Lydon,
Rapeman,
The Beau Brummels,
Average White Band,
Kool G Rap & DJ Polo,
The Toasters,
Fifty Foot Hose,
Sarah Menescal,
The Last Poets,
Severed Heads,
Gang Green,
Andrew Ashong & Theo Parrish,
EPMD,
Rosa Yemen,
Vaughan Mason & Crew,
It's A Beautiful Day,
China Crisis,
Hot Snakes,
Icehouse,
Alphaville,
Inner City,
Gil Scott-Heron and Jamie xx,
Electric Prunes,
Jeff Lynne,
Maurizio,
Drexciya,
Bobby Sherman,
the Association,
Soft Machine,
Curtis Mayfield,
Pere Ubu,
The Move,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.