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 Jordan and from Lille.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and London.
I'm losing my edge to the art-school Lille 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 oboe 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 Derrick Morgan to the grime 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 The Fire Engines. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
ABC,
The Sonics,
Aaron Thompson,
Faraquet,
The Walker Brothers,
Excepter,
Buzzcocks,
The Doors,
Ultravox,
DJ Style,
Scion,
Sunsets and Hearts,
Mantronix,
La Düsseldorf,
Liliput,
Avey Tare's Slasher Flicks,
Jesper Dahlbäck,
Trumans Water,
Quadrant,
Eric B and Rakim,
Saccharine Trust,
Inner City,
Panda Bear,
Little Man,
Cheater Slicks,
Cal Tjader,
The Gun Club,
Lalo Schifrin,
Minutemen,
The Kinks,
Max Romeo,
Mad Mike,
Fluxion,
The Martian,
The Skatalites,
Tim Buckley,
Brass Construction,
Cameo,
The Birthday Party,
Eddi Front,
Nas,
Eyeless In Gaza,
Albert Ayler,
The Fire Engines,
Grauzone,
U.S. Maple,
Roy Ayers Ubiquity,
Magma,
The American Breed,
Terrestrial Tones,
Bootsy Collins,
Sun Ra Arkestra,
One Last Wish,
Lightning Bolt,
Masters at Work,
Wighnomy Brothers & Robag Wruhme,
Funkadelic,
Don Cherry,
Boogie Down Productions,
Dual Sessions,
Graham Central Station,
the Association, the Association, the Association, the Association.
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.