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 Cyprus and from Calgary.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Milan and Manila.
I'm losing my edge to the art-school Glasgow 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 marimba sounds with much patience.
I was there when Michael McDonald 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 Desert Stars to the jazz kids.
I played it at the Astoria.
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 Cramps. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Funkadelic,
Wolf Eyes,
Isaac Hayes,
Steve Hackett,
Neil Young,
Tom Boy,
Symarip,
The Sisters of Mercy,
Flamin' Groovies,
James Chance & The Contortions,
Alice Coltrane,
Maleditus Sound,
Tres Demented,
Warren Ellis,
Rotary Connection,
Whodini,
The Young Rascals,
Average White Band,
Major Organ And The Adding Machine,
Drexciya,
Smog,
PIL,
A Flock of Seagulls,
Moby Grape,
Nik Kershaw,
Model 500,
Rowland S Howard / Lydia Lunch,
Terry Callier,
Minor Threat,
Pet Shop Boys,
Eve St. Jones,
Silicon Teens,
The Cramps,
Fear,
Lower 48,
Ultra Naté,
Inner City,
The Durutti Column,
Khruangbin,
Urselle,
Procol Harum,
Marc Romboy vs. Booka Shade,
Popol Vuh,
Television,
Bobby Sherman,
Be Bop Deluxe,
Country Teasers,
Public Image Ltd.,
The Alarm Clocks,
Motorama,
John Coltrane,
Brass Construction,
Bobby Hutcherson,
Lebanon Hanover,
Terror Squad Feat. Camron,
Dorothy Ashby,
Crime,
the Normal,
Sandy B,
B.T. Express,
The Fall,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.