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 Ivory Coast and from Paris.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Woodstock 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 Skarface to the rock 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 Lungfish. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Delon & Dalcan record on German import.
I heard that you have a white label of every seminal grunge 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 sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Unwound,
Dorothy Ashby,
Ash Ra Tempel,
New York Dolls,
Sun Ra,
Eden Ahbez,
The Raincoats,
Black Pus,
the Bar-Kays,
The Evens,
Sandy B,
Accadde A,
Sun City Girls,
Severed Heads,
Kayak,
Cluster,
Jacques Brel,
Electric Light Orchestra,
The Sisters of Mercy,
Drexciya,
Quantec,
Tom Boy,
the Fania All-Stars,
Sex Pistols,
Be Bop Deluxe,
Oppenheimer Analysis,
Lou Reed & Metallica,
The Count Five,
Average White Band,
Warren Ellis,
Absolute Body Control,
The Offenders,
Ultravox,
Bobby Hutcherson,
Liliput,
Q65,
Neil Young & Crazy Horse,
Black Flag,
Swell Maps,
Dual Sessions,
Avey Tare & Kría Brekkan,
Ronnie Foster,
Reuben Wilson,
Andrew Ashong & Theo Parrish,
Barrington Levy,
Clear Light,
Kas Product,
Pole,
Warsaw,
Skarface,
Brick,
Black Moon,
Heaven 17,
Quadrant,
Howard Jones,
Intrusion,
Kings Of Tomorrow,
Unrelated Segments,
The Toasters,
Siglo XX,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.