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 Equatorial Guinea and from Woodstock.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Calgary and Taipei.
I'm losing my edge to the art-school Lyon 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 Dual Sessions to the grunge kids.
I played it at the 40 Watt.
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 Schoolly D. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Gong,
Reuben Wilson,
Bauhaus,
Swans,
Kurtis Blow,
June Days,
JFA,
FM Einheit,
Ludus,
the Soft Cell,
The Stooges,
Sad Lovers and Giants,
Colin Newman,
The Red Krayola,
Faust,
A Certain Ratio,
Franke,
Roger Hodgson,
Arab on Radar,
Peter and Kerry,
Beasts of Bourbon,
John Coltrane,
Sunsets and Hearts,
Q and Not U,
Marcia Griffiths,
Crispy Ambulance,
Bluetip,
Gerry Rafferty,
Wolf Eyes,
Deepchord,
Fatback Band,
David Bowie,
One Last Wish,
Gang Gang Dance,
Oppenheimer Analysis,
Todd Rundgren,
Gil Scott-Heron and Jamie xx,
The Dave Clark Five,
Be Bop Deluxe,
Juan Atkins,
Lebanon Hanover,
The Sonics,
Todd Terry,
Jesper Dahlback,
Anakelly,
Susan Cadogan,
Y Pants,
The Techniques,
Pagans,
Sandy B,
Matthew Halsall,
Masters at Work,
Zero Boys,
Byron Stingily,
Jeru the Damaja,
Faraquet,
Isaac Hayes,
The Tremeloes,
Gil Scott Heron,
Basic Channel,
Excepter, Excepter, Excepter, Excepter.
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.