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 Ukraine and from Accra.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1971.
I'm losing my edge.
To all the kids in Lyon and Lyon.
I'm losing my edge to the art-school Seoul 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 linndrum 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 Section 25 to the dance kids.
I played it at CBGB's.
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 Lou Reed. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Radiopuhelimet record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
The Motions,
It's A Beautiful Day,
The Residents,
Stereo Dub,
Sonny Sharrock,
Alison Limerick,
John Holt,
Motorama,
The Doobie Brothers,
Pulsallama,
Jesper Dahlbäck,
Aural Exciters,
R.M.O.,
Jacob Miller,
The Flesh Eaters,
Swell Maps,
Jeff Lynne,
Niagra,
Saccharine Trust,
Jerry's Kids,
Dorothy Ashby,
Essential Logic,
Can,
Yellowson,
Young Marble Giants,
Pet Shop Boys,
Faust,
Bad Manners,
Radiohead,
Sun City Girls,
Franke,
Anakelly,
Charles Mingus,
Thinking Fellers Union Local 282,
Black Flag,
The Beau Brummels,
Lebanon Hanover,
Lou Reed & Metallica,
Orchestral Manoeuvres in the Dark,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oblivians,
Jandek,
Joe Smooth,
Alphaville,
Rakim,
Cluster,
Sparks,
Index,
Quadrant,
Lalann,
Unrelated Segments,
Radiopuhelimet,
FM Einheit,
Brand Nubian,
Scion,
Chris & Cosey,
Toni Rubio,
Donny Hathaway,
The Electric Prunes,
The Divine Comedy,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.