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 Bulgaria and from Beijing.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1960 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Lyon.
I'm losing my edge to the art-school Philadelphia 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 marimba 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 Susan Cadogan to the punk kids.
I played it at the Hacienda.
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 Camberwell Now. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Shuggie Otis 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 '60s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
Essential Logic,
Junior Murvin,
Ponytail,
Grauzone,
Supertramp,
Archie Shepp,
Rhythm & Sound,
Stereo Dub,
Ralphi Rosario,
June Days,
Sticky Fingaz feat. Raekwon,
Nirvana,
Major Organ And The Adding Machine,
Grandmaster Flash and the Furious Five,
Jesper Dahlback,
Magazine,
The Pop Group,
Sandy B,
The Gories,
James White and The Blacks,
X-102,
Michelle Simonal,
Sun City Girls,
Easy Going,
Gary Puckett & The Union Gap,
Yellowson,
Bootsy's Rubber Band,
The Remains,
Nick Cave & The Bad Seeds,
Make Up,
Whodini,
The West Coast Pop Art Experimental Band,
Yaz,
Dennis Brown,
Notorious Big And Bone Thugs,
Nico,
Isaac Hayes,
Eric Dolphy,
Amon Düül,
Glenn Branca,
Neu!,
Oneida,
Banda Bassotti,
The Wake,
Ash Ra Tempel,
Fluxion,
Gabor Szabo,
Althea and Donna,
Fat Boys,
Selector Dub Narcotic,
Kool G Rap & DJ Polo,
Con Funk Shun,
Manfred Mann's Earth Band,
Neil Young,
Erykah Badu,
OOIOO,
Susan Cadogan,
MDC,
Jeru the Damaja,
Roger Hodgson,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.