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 Senegal and from Madrid.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Columbus and Tokyo.
I'm losing my edge to the art-school Shanghai 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the organ 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 Toni Rubio to the jazz kids.
I played it at the 40 Watt.
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 Bobby Sherman. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Heaven 17 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lee Hazlewood record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Marine Girls,
The Moleskins,
Scratch Acid,
The Move,
Louis and Bebe Barron,
Soul II Soul,
The Fire Engines,
Swans,
Robert Görl,
Soft Machine,
David Axelrod,
Sister Nancy,
Ponytail,
Ash Ra Tempel,
D'Angelo,
The Star Department,
Boredoms,
Vladislav Delay,
Black Pus,
Pulsallama,
The Litter,
Talk Talk,
The Black Dice,
Ken Boothe,
the Soft Cell,
Fad Gadget,
The Stooges,
Alton Ellis,
Connie Case,
Section 25,
New Order,
Deutsch Amerikanische Freundschaft,
Saccharine Trust,
Subhumans,
Don Cherry,
The Alarm Clocks,
Orchestral Manoeuvres in the Dark,
Banda Bassotti,
Jawbox,
The Count Five,
Gong,
The Flesh Eaters,
Fat Boys,
Half Japanese,
Neil Young,
Brand Nubian,
The Velvet Underground,
Lou Reed & John Cale,
Liaisons Dangereuses,
Joensuu 1685,
Sugar Minott,
Pylon,
Reuben Wilson,
Eddi Front,
Dark Day,
Babytalk,
Peter and Kerry,
Panda Bear,
Pantaleimon,
Pharoah Sanders,
Josef K,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.