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 Vanuatu and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Beijing.
I'm losing my edge to the art-school Winnipeg 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 rhodes 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 Judy Mowatt to the dance kids.
I played it at the Spitz.
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 Don Cherry. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your 808 and bought a güiro.
I hear that you and your band have sold your güiro and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Deadbeat,
Soft Cell,
Sam Rivers,
Susan Cadogan,
The Searchers,
Quando Quango,
The Gladiators,
Sister Nancy,
Pantytec,
Roy Ayers Ubiquity,
Ohio Players,
Skaos,
Max Romeo,
Pere Ubu,
Swans,
Sparks,
Echospace,
The Mojo Men,
ABBA,
Q and Not U,
Cameo,
Brick,
Amon Düül,
The New Christs,
Masters at Work,
Mars,
Bush Tetras,
The Five Americans,
Ten City,
Sandy B,
Inner City,
Pantaleimon,
Cecil Taylor,
Flash Fearless,
The Monochrome Set,
Neil Young & Crazy Horse,
Boredoms,
Dark Day,
Average White Band,
Public Image Ltd.,
48th St. Collective,
Deepchord,
Easy Going,
The Kinks,
The Martian,
Girls At Our Best!,
Hot Snakes,
Minor Threat,
Lebanon Hanover,
Faust,
Stiv Bators,
The Gories,
Zero Boys,
Skarface,
Reagan Youth,
The Mummies,
K-Klass,
Lonnie Liston Smith,
the Swans,
The Velvet Underground,
Camron Feat. Memphis Bleek And Beenie Seigel,
Country Teasers,
Orchestral Manoeuvres in the Dark,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.