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 Barbados and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1970.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Radio Birdman to the techno 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 Red Lorry Yellow Lorry. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Juan Atkins 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Sound Behaviour,
Lizzy Mercier Descloux,
Monks,
The Shadows of Knight,
Stockholm Monsters,
A Flock of Seagulls,
Pharaoh Sanders and the Fire Engines,
Dawn Penn,
Dual Sessions,
Banda Bassotti,
The Fuzztones,
The Standells,
Graham Central Station,
Royal Trux,
The Associates,
Popol Vuh,
The Angels of Light,
Henry Cow,
Audionom,
Das Ding,
the Slits,
Johnny Clarke,
Saccharine Trust,
Michelle Simonal,
Porter Ricks,
Lower 48,
The Vogues,
Motorama,
Bronski Beat,
Swans,
Supertramp,
MDC,
Bush Tetras,
Average White Band,
The Chocolate Watch Band,
T. Rex,
Blancmange,
Röyhkä ja Rättö ja Lehtisalo,
It's A Beautiful Day,
Erykah Badu,
Qualms,
Guru Guru,
Tears for Fears,
Red Lorry Yellow Lorry,
Beasts of Bourbon,
Quadrant,
Eve St. Jones,
EPMD,
Radio Birdman,
Livin' Joy,
Swell Maps,
Quando Quango,
Fort Wilson Riot,
Sandy B,
The Sisters of Mercy,
Lou Reed & John Cale,
Q and Not U,
The Dirtbombs,
Neil Young & Crazy Horse,
Notorious BIG live in Amsterdam,
Soulsonic Force,
The Remains, The Remains, The Remains, The Remains.
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.