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 Togo and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Paris and Taipei.
I'm losing my edge to the art-school Woodstock 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 sitar sounds with much patience.
I was there when Donald Fagen 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 Motorama to the disco kids.
I played it at the Spitz.
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 The Happenings. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Danielle Patucci record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Mark Hollis,
Joensuu 1685,
Porter Ricks,
Average White Band,
Letta Mbulu,
Mandrill,
Kaleidoscope,
Roger Hodgson,
Surgeon,
Idris Muhammad,
Ornette Coleman,
the Soft Cell,
Dr. Dre and Snoop Doggy Dog,
The Victims,
John Cale,
Saccharine Trust,
Parry Music,
Reuben Wilson,
The Seeds,
Art Ensemble Of Chicago,
the Human League,
La Düsseldorf,
Siglo XX,
Ultravox,
Siouxsie and the Banshees,
Los Fastidios,
Crispian St. Peters,
Godley & Creme,
Ice-T,
Talk Talk,
Peter & Gordon,
Depeche Mode,
Eurythmics,
Andrew Hill,
Amon Düül,
Sight & Sound,
Eric Copeland,
Sunsets and Hearts,
U.S. Maple,
Rekid,
Procol Harum,
Electric Prunes,
Rhythim Is Rhythim,
The Knickerbockers,
Infiniti,
Suicide,
Alton Ellis,
Soulsonic Force,
Be Bop Deluxe,
Shuggie Otis,
Howard Jones,
Ohio Players,
Half Japanese,
Lungfish,
The Fugs,
Janne Schatter,
Joey Negro,
Clear Light,
Moby Grape,
Nas,
Toni Rubio,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.