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 Iceland and from Lille.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Copenhagen 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 This Heat to the jazz kids.
I played it at the Crocodile.
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 David Bowie. All the underground hits.
All Yaz tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxy Music,
Kurtis Blow,
The Sonics,
Prince Buster,
Electric Prunes,
Minnie Riperton,
X-Ray Spex,
the Sonics,
Lakeside,
JFA,
The Men They Couldn't Hang,
Rhythm & Sound,
Yazoo,
Yellowson,
Faraquet,
B.T. Express,
Banda Bassotti,
Eyeless In Gaza,
Jimmy McGriff,
David Bowie,
the Association,
DJ Sneak,
Organ,
David McCallum,
Pole,
Radiopuhelimet,
Scientists,
Gil Scott Heron,
Kerri Chandler,
OOIOO,
Orchestral Manoeuvres in the Dark,
Gil Scott-Heron and Jamie xx,
Sugar Minott,
Gang Starr,
The Index,
U.S. Maple,
Toni Rubio,
Nico,
Skarface,
The Fire Engines,
Cameo,
The West Coast Pop Art Experimental Band,
Laurel Aitken,
Gil Scott-Heron & Brian Jackson,
Marmalade,
The Gap Band,
Soul Sonic Force,
Larry & the Blue Notes,
Eurythmics,
Lou Christie,
Skaos,
Big Daddy Kane,
Flamin' Groovies,
Tomorrow,
Boredoms,
Ajijia Myrayebe,
Albert Ayler,
Rowland S Howard / Lydia Lunch,
R.M.O.,
The Angels of Light,
The Modern Lovers,
H. Thieme,
Black Flag, Black Flag, Black Flag, Black Flag.
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.