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 Barbados and from Spokane.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Portland and London.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Amon Düül II to the jazz kids.
I played it at the Roxy.
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 Kool Moe Dee. All the underground hits.
All Wighnomy Brothers & Robag Wruhme tracks. I heard you have a vinyl of every Qualms 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 '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Chrome,
D'Angelo,
Lonnie Liston Smith,
Shoche,
Marshall Jefferson,
DeepChord presents Echospace,
H. Thieme,
Japan,
DJ Sneak,
Tres Demented,
Matthew Bourne,
Kings Of Tomorrow,
The Cure,
Faust,
MC5,
Electric Light Orchestra,
EPMD,
Cal Tjader,
KRS-One,
Aural Exciters,
China Crisis,
Blossom Toes,
Barry Ungar,
The Moleskins,
Scientists,
Agent Orange,
The Neon Judgement,
Marcia Griffiths,
Buzzcocks,
Yusef Lateef,
Anthony Braxton,
Kool Moe Dee,
Joensuu 1685,
Pussy Galore,
Echo & the Bunnymen,
Tom Boy,
The Trojans,
The Selecter,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Dennis Brown,
Sexual Harrassment,
The Doors,
Suburban Knight,
Sight & Sound,
Deutsch Amerikanische Freundschaft,
The Gladiators,
Minny Pops,
Kayak,
Brass Construction,
Can,
Hoover,
The Doobie Brothers,
Boz Scaggs,
Soft Machine,
DNA,
Faraquet,
The West Coast Pop Art Experimental Band,
Andrew Hill,
Lucky Dragons,
The Fuzztones,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.