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 Gambia and from Woodstock.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1975.
I'm losing my edge.
To all the kids in Mumbai and Glasgow.
I'm losing my edge to the art-school Cairo 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 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 Second Layer to the rock kids.
I played it at Trash.
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 Eddi Front. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Icehouse 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 '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade 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?
Deepchord,
Amon Düül,
CMW,
Cabaret Voltaire,
Barclay James Harvest,
Subhumans,
Quadrant,
The Fire Engines,
Soft Machine,
Heavy D & The Boyz,
Theoretical Girls,
Organ,
Mandrill,
World's Most,
Gang Gang Dance,
Lou Reed,
Kenny Larkin,
Swell Maps,
DNA,
Ludus,
Kango’s Stein Massive,
The Durutti Column,
Joey Negro,
Easy Going,
Fat Boys,
The Happenings,
The Dead C,
DeepChord presents Echospace,
Lebanon Hanover,
Clear Light,
Saccharine Trust,
A Flock of Seagulls,
Sugar Minott,
Susan Cadogan,
Amazonics,
The Walker Brothers,
AZ,
8 Eyed Spy,
Big Daddy Kane,
Delon & Dalcan,
Minnie Riperton,
Alison Limerick,
One Last Wish,
Eyeless In Gaza,
The Slits,
the Association,
The Angels of Light,
Flamin' Groovies,
Electric Prunes,
Jesper Dahlbäck,
Gerry Rafferty,
Selector Dub Narcotic,
The Techniques,
London Community Gospel Choir,
Swans,
The United States of America,
Crispy Ambulance,
Matthew Bourne,
Bad Manners,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.