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 Liechtenstein and from Milan.
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 1979.
I'm losing my edge.
To all the kids in Halifax and Tokyo.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 The Associates to the techno kids.
I played it at Cafe Wha.
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 Public Image Ltd.. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Loose Ends record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tropical Tobacco,
Nation of Ulysses,
Captain Beefheart & His Magic Band,
Severed Heads,
Notorious BIG live in Amsterdam,
L. Decosne,
Pharaoh Sanders and the Fire Engines,
The United States of America,
Mad Mike,
Lungfish,
Rosa Yemen,
This Heat,
Roxette,
Ossler,
Soft Cell,
Schoolly D,
Blancmange,
Oneida,
Gabor Szabo,
Robert Wyatt,
Roy Ayers,
Graham Central Station,
Barclay James Harvest,
Jeru the Damaja,
Minutemen,
48th St. Collective,
Fort Wilson Riot,
Panda Bear,
Cal Tjader,
The Fire Engines,
Unwound,
Quando Quango,
The Moody Blues,
Sight & Sound,
Flipper,
Scan 7,
Qualms,
Eddi Front,
Prince Buster,
James White and The Blacks,
FM Einheit,
The Barracudas,
Robert Görl,
Oppenheimer Analysis,
Glenn Branca,
Grandmaster Flash and the Furious Five,
Scrapy,
Eyeless In Gaza,
Jeff Lynne,
Dead Boys,
The Index,
Glambeats Corp.,
Spandau Ballet,
Idris Muhammad,
Metal Thangz,
Minnie Riperton,
Amazonics,
The Slackers,
Rekid,
Scott Walker,
Toni Rubio, Toni Rubio, Toni Rubio, Toni Rubio.
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.