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 Afghanistan and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1971.
I'm losing my edge.
To all the kids in Calgary and Salvador.
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 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 Donald Fagen 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 Peter and Kerry 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 Donald Byrd. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal punk 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 a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Black Sheep,
Warren Ellis,
D'Angelo,
London Community Gospel Choir,
Audionom,
Bootsy Collins,
Gabor Szabo,
Jeff Lynne,
The Fire Engines,
Spandau Ballet,
Faust,
PIL,
Slave,
Interpol,
Camron Feat. Memphis Bleek And Beenie Seigel,
Rhythm & Sound,
The Cowsills,
AZ,
Pharaoh Sanders and the Fire Engines,
Robert Wyatt,
Half Japanese,
The American Breed,
Neu!,
Arab on Radar,
Eric Copeland,
Sun Ra Arkestra,
Severed Heads,
Lalo Schifrin,
Tropical Tobacco,
The Fall,
This Heat,
The Velvet Underground,
Laurel Aitken,
Marvin Gaye,
Lonnie Liston Smith,
Aswad,
Soft Cell,
Thompson Twins,
Dave Gahan,
UT,
Bronski Beat,
Boogie Down Productions,
Alphaville,
Shuggie Otis,
Notorious Big And Bone Thugs,
CMW,
The Pretty Things,
Kool G Rap & DJ Polo,
Technova,
James White and The Blacks,
The Angels of Light,
Shoche,
Public Image Ltd.,
Ronnie Foster,
Zapp,
Ornette Coleman,
Jesper Dahlbäck,
Godley & Creme,
the Sonics,
Goldenarms,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.