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 Burundi and from New York.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Bremen and Accra.
I'm losing my edge to the art-school Taipei 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 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 Faraquet to the rock kids.
I played it at the Troubador.
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 Talk Talk. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Das Ding record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rakim,
Das Ding,
Matthew Bourne,
The Peanut Butter Conspiracy,
Tom Boy,
Oneida,
The Real Kids,
Peter Gordon & Love of Life Orchestra,
Second Layer,
Easy Going,
Liaisons Dangereuses,
Laurel Aitken,
Scrapy,
Andrew Hill,
The Moody Blues,
Moss Icon,
Gerry Rafferty,
Livin' Joy,
Notorious Big And Bone Thugs,
The Mojo Men,
Matthew Halsall,
Jacob Miller,
De La Soul & Jungle Brothers,
L. Decosne,
The Fall,
Brand Nubian,
Theoretical Girls,
David McCallum,
Nas,
Big Daddy Kane,
James Chance & The Contortions,
Bluetip,
Kenny Larkin,
Ultra Naté,
Eddi Front,
Tres Demented,
The Angels of Light,
Malaria!,
Colin Newman,
Blancmange,
Dead Boys,
Harpers Bizarre,
Zero Boys,
Slick Rick,
Stockholm Monsters,
Alison Limerick,
The Offenders,
R.M.O.,
Newcleus,
Alphaville,
Röyhkä ja Rättö ja Lehtisalo,
Scratch Acid,
Danielle Patucci,
OOIOO,
EPMD,
Camberwell Now,
the Swans,
The Neon Judgement,
Young Marble Giants,
Bill Wells,
Connie Case, Connie Case, Connie Case, Connie Case.
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.