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 Turkmenistan and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Lyon.
I'm losing my edge to the art-school Johannesburg 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 organ sounds with much patience.
I was there when Tom Verlaine 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 Neil Young & Crazy Horse to the dance kids.
I played it at the Astoria.
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 Country Joe & The Fish. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every Brick 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your theremin and bought a guitar.
I hear that you and your band have sold your guitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Procol Harum,
Q65,
Arcadia,
Half Japanese,
London Community Gospel Choir,
Marine Girls,
Pierre Henry,
New Order,
Fatback Band,
Moby Grape,
The Skatalites,
The Seeds,
Carl Craig,
Bobby Byrd,
Kerrie Biddell,
Art Ensemble Of Chicago,
Ornette Coleman,
a-ha,
Pharoah Sanders,
Second Layer,
The Searchers,
Scrapy,
Lungfish,
Grauzone,
Eve St. Jones,
Scratch Acid,
Boogie Down Productions,
The Trojans,
Clear Light,
Bobby Sherman,
The Sound,
Essential Logic,
James White and The Blacks,
Roxy Music,
Boredoms,
Depeche Mode,
Robert Görl,
Peter and Kerry,
Strawberry Alarm Clock,
Be Bop Deluxe,
Al Stewart,
The Busters,
Radiohead,
Rotary Connection,
Amon Düül,
Sugar Minott,
Mark Hollis,
Henry Cow,
Sight & Sound,
Ohio Players,
Major Organ And The Adding Machine,
the Human League,
The Durutti Column,
Lou Reed,
Josef K,
The Toasters,
Curtis Mayfield,
Kenny Larkin,
The Peanut Butter Conspiracy,
The Five Americans,
The Smiths,
Young Marble Giants, Young Marble Giants, Young Marble Giants, Young Marble Giants.
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.