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 Afghanistan and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Lagos and Lille.
I'm losing my edge to the art-school Bologna 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the synthesizer 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 Bootsy's Rubber Band to the rap kids.
I played it at the Roxy.
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 Ultravox. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every The Alarm Clocks 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 '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Mission of Burma,
Outsiders,
Oppenheimer Analysis,
New Order,
FM Einheit,
Barclay James Harvest,
Ituana,
Rowland S Howard / Lydia Lunch,
The Raincoats,
The Barracudas,
Stetsasonic,
Nirvana,
Desert Stars,
Lightning Bolt,
Moebius,
Bobby Byrd,
Sad Lovers and Giants,
Minnie Riperton,
The Young Rascals,
Gang Green,
Technova,
Livin' Joy,
Oblivians,
Camberwell Now,
Intrusion,
Liaisons Dangereuses,
Amon Düül,
Joyce Sims,
Loose Ends,
The Selecter,
Lou Reed & John Cale,
La Düsseldorf,
Minutemen,
Brick,
Icehouse,
Ultra Naté,
Dawn Penn,
Graham Central Station,
The Slits,
Cameo,
Procol Harum,
Index,
Thee Headcoats,
The Gap Band,
Eurythmics,
Gil Scott-Heron and Jamie xx,
Slave,
Nik Kershaw,
Lungfish,
The Associates,
Scion,
Sonny Sharrock,
Eric Dolphy,
Lou Reed,
The Doobie Brothers,
X-102,
The Index,
Andrew Hill,
Zapp,
Faraquet,
Absolute Body Control,
Bill Near, Bill Near, Bill Near, Bill Near.
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.