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 Grenada and from Houston.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1974.
I'm losing my edge.
To all the kids in Seoul and Madrid.
I'm losing my edge to the art-school Lyon 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 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 Zero Boys to the funk 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 Happenings. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Sixth Finger record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Clear Light,
The Fuzztones,
Fat Boys,
Animal Collective,
The Sisters of Mercy,
DNA,
Marine Girls,
Glambeats Corp.,
Susan Cadogan,
Sparks,
Juan Atkins,
Röyhkä ja Rättö ja Lehtisalo,
Sixth Finger,
Selector Dub Narcotic,
Arab on Radar,
Section 25,
Arthur Verocai,
Monolake,
Fluxion,
Cecil Taylor,
Oblivians,
U.S. Maple,
Pere Ubu,
Marc Almond,
Quantec,
the Association,
Banda Bassotti,
The Moleskins,
Kenny Larkin,
Rhythim Is Rhythim,
Fatback Band,
Radiopuhelimet,
Groovy Waters,
The Dead C,
Accadde A,
Minnie Riperton,
Mission of Burma,
Derrick Morgan,
Lou Reed,
Public Enemy,
Kauko Röyhkä ja Narttu,
The Five Americans,
Swell Maps,
Outsiders,
DJ Style,
Oppenheimer Analysis,
Heavy D & The Boyz,
Carl Craig,
Dead Boys,
Trumans Water,
Don Cherry,
Freddie Wadling,
Scratch Acid,
Ohio Players,
Boz Scaggs,
Tropical Tobacco,
Rapeman,
Howard Jones,
Audionom, Audionom, Audionom, Audionom.
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.