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 Venezuela and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1975.
I'm losing my edge.
To all the kids in Shanghai and Woodstock.
I'm losing my edge to the art-school Manila 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 güiro 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 Sonny Sharrock to the grunge kids.
I played it at the Hacienda.
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 Faust. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Hoover,
Alphaville,
Minnie Riperton,
T. Rex,
Eddi Front,
Ultravox,
The J.B.'s,
Sight & Sound,
Max Romeo,
Jeff Lynne,
Audionom,
Harpers Bizarre,
Brick,
Connie Case,
Danielle Patucci,
Ralphi Rosario,
Sandy B,
Peter & Gordon,
Leonard Cohen,
Larry & the Blue Notes,
Pulsallama,
The Mojo Men,
Deadbeat,
Malaria!,
Ice-T,
The Move,
Skriet,
Camron Feat. Memphis Bleek And Beenie Seigel,
X-101,
Tim Buckley,
Black Moon,
Slave,
The Tremeloes,
Johnny Clarke,
Selector Dub Narcotic,
Kurtis Blow,
Guru Guru,
Big Daddy Kane,
Matthew Halsall,
Cabaret Voltaire,
Lizzy Mercier Descloux,
Grauzone,
Niagra,
Nirvana,
Stockholm Monsters,
Grey Daturas,
The Slits,
The Barracudas,
Black Sheep,
Minor Threat,
the Bar-Kays,
Blossom Toes,
Masters at Work,
Ronnie Foster,
The Flesh Eaters,
Gang Green,
Outsiders,
Electric Light Orchestra,
Marshall Jefferson,
Eden Ahbez,
Thompson Twins,
Au Pairs,
The Vogues, The Vogues, The Vogues, The Vogues.
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.