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 Samoa and from Accra.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Woodstock 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 spring reverb 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 Half Japanese to the funk 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 Peter & Gordon. All the underground hits.
All The Real Kids tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious Big And Bone Thugs,
Eyeless In Gaza,
Albert Ayler,
Roger Hodgson,
Heaven 17,
Flamin' Groovies,
Shuggie Otis,
Man Parrish,
The Misunderstood,
Bauhaus,
Marshall Jefferson,
The Electric Prunes,
Soft Cell,
Hardrive,
June Days,
The Move,
The Pretty Things,
Warren Ellis,
Intrusion,
Mo-Dettes,
Rod Modell,
Rahsaan Roland Kirk,
Eric Dolphy,
The Fuzztones,
Nik Kershaw,
Ornette Coleman,
Black Sheep,
AZ,
Junior Murvin,
Lebanon Hanover,
Make Up,
The Slackers,
The American Breed,
Clear Light,
Rufus Thomas,
Dennis Brown,
Masters at Work,
Kas Product,
Amon Düül,
Bang on a Can All-Stars,
Dr. Dre and Snoop Doggy Dog,
The Jesus and Mary Chain,
Index,
Alphaville,
Slick Rick,
Model 500,
Scan 7,
Cal Tjader,
Gil Scott-Heron and Jamie xx,
Juan Atkins,
Kaleidoscope,
The Durutti Column,
Arthur Verocai,
The United States of America,
The Toasters,
X-101,
Wasted Youth,
Tim Buckley,
The Gladiators,
Ice-T,
Deepchord,
The Offenders, The Offenders, The Offenders, The Offenders.
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.