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 Trinidad & Tobago and from Calgary.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Mumbai.
I'm losing my edge to the art-school Jakarta 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 808 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 The Sound to the crunk kids.
I played it at the Troubador.
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 Red Lorry Yellow Lorry. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Tim Buckley 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
The Dirtbombs,
Niagra,
Dr. Dre and Snoop Doggy Dog,
Fat Boys,
Terrestrial Tones,
Crooked Eye,
Black Bananas,
Bang on a Can All-Stars,
Laurel Aitken,
Skaos,
The Peanut Butter Conspiracy,
New Age Steppers,
the Human League,
Big Daddy Kane,
Slave,
Deadbeat,
L. Decosne,
Maurizio,
Michelle Simonal,
Man Eating Sloth,
Crime,
The Residents,
Hasil Adkins,
David McCallum,
Nils Olav,
The United States of America,
Cluster,
Gang Gang Dance,
Scion,
Kango’s Stein Massive,
Lee Hazlewood,
Arcadia,
Roy Ayers,
Quando Quango,
Kaleidoscope,
Fear,
Franke,
Thompson Twins,
Dorothy Ashby,
Arthur Verocai,
The Tremeloes,
Brothers Johnson,
Gang Green,
Red Lorry Yellow Lorry,
Grandmaster Flash and the Furious Five,
Rod Modell,
Peter Gordon & Love of Life Orchestra,
Derrick Morgan,
Deutsch Amerikanische Freundschaft,
Bad Manners,
Man Parrish,
Pussy Galore,
Fort Wilson Riot,
48th St. Collective,
Strawberry Alarm Clock,
T. Rex,
Notorious BIG live in Amsterdam,
Orchestral Manoeuvres in the Dark,
Robert Görl,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.