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 Grenada and from Hong Kong.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1973.
I'm losing my edge.
To all the kids in Taipei and Milan.
I'm losing my edge to the art-school London 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 chamberlin 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 Cymande to the jazz kids.
I played it at the Hacienda.
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 Marc Almond. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Simply Red 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 '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Funkadelic,
The Leaves,
The Index,
Faraquet,
Scan 7,
Grandmaster Flash,
Moss Icon,
Terry Callier,
Flash Fearless,
James Chance & The Contortions,
Soft Cell,
MDC,
Anthony Braxton,
Oppenheimer Analysis,
R.M.O.,
Fad Gadget,
Stiv Bators,
Idris Muhammad,
Unwound,
the Bar-Kays,
Skriet,
Laurel Aitken,
John Foxx,
Scott Walker + Sunn O))),
Country Joe & The Fish,
Frankie Knuckles,
Marc Almond,
Technova,
John Lydon,
Lucky Dragons,
H. Thieme,
A Flock of Seagulls,
Sight & Sound,
The Vogues,
Roy Ayers,
Sister Nancy,
Yaz,
Pet Shop Boys,
Throbbing Gristle,
Gang of Four,
Matthew Bourne,
Toni Rubio,
Guru Guru,
Arab on Radar,
The Sonics,
Soulsonic Force,
Soul II Soul,
The Fuzztones,
Rufus Thomas,
Neil Young & Crazy Horse,
Gang Starr,
Derrick May,
Thee Headcoats,
Index,
The Grass Roots,
Sun Ra,
Eli Mardock,
The Dave Clark Five,
Selector Dub Narcotic,
Sam Rivers,
Bill Wells,
The Gap Band, The Gap Band, The Gap Band, The Gap Band.
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.