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 Ethiopia and from Woodstock.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Madrid and Toronto.
I'm losing my edge to the art-school Beijing 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 Big Star practice in a loft in Memphis.
I was working on the rhodes 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 Swell Maps to the rap kids.
I played it at CBGB's.
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 Black Moon. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every Bobbi Humphrey record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Crime,
The Monochrome Set,
Niagra,
The Invisible,
The Red Krayola,
In Retrospect,
The Last Poets,
Absolute Body Control,
Arcadia,
Jeff Mills,
Kings Of Tomorrow,
Nick Fraelich,
Interpol,
Robert Görl,
Scion,
Gang Starr,
Marc Almond,
Louis and Bebe Barron,
Derrick Morgan,
Chrome,
Tears for Fears,
Lakeside,
The Sound,
Los Fastidios,
The Grass Roots,
Au Pairs,
Be Bop Deluxe,
Terrestrial Tones,
Minnie Riperton,
Scratch Acid,
The Mojo Men,
The Victims,
Model 500,
The Wake,
Kerri Chandler,
B.T. Express,
Fela Kuti,
The Buckinghams,
Television,
Liliput,
Visage,
Teenage Jesus and the Jerks,
June of 44,
The Busters,
The Names,
Intrusion,
Amon Düül,
Bill Near,
The Velvet Underground,
Ultramagnetic MC's,
La Düsseldorf,
Ralphi Rosario,
Infiniti,
Jacob Miller,
Scan 7,
Mo-Dettes,
Masters at Work,
Eric Copeland,
Sex Pistols,
Manfred Mann's Earth Band,
Con Funk Shun,
Echospace, Echospace, Echospace, Echospace.
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.