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 Ghana and from Tokyo.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Manchester and Taipei.
I'm losing my edge to the art-school Cairo 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 clarinet 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 Liliput to the crunk kids.
I played it at the Astoria.
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 Eric B and Rakim. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal punk 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 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Louis and Bebe Barron,
Half Japanese,
Tomorrow,
Dark Day,
Soft Cell,
Rhythim Is Rhythim,
Quantec,
The Human League,
Interpol,
Eyeless In Gaza,
Lou Reed & Metallica,
The Sound,
ABBA,
OOIOO,
Electric Prunes,
The Monochrome Set,
Soul II Soul,
Red Lorry Yellow Lorry,
Moby Grape,
Anthony Braxton,
Wally Richardson,
The Motions,
Con Funk Shun,
Ohio Players,
Robert Görl,
Intrusion,
Boredoms,
The Gories,
Echo & the Bunnymen,
Swans,
Grandmaster Flash and the Furious Five,
Suburban Knight,
JFA,
DJ Style,
Janne Schatter,
Technova,
Bronski Beat,
The Fire Engines,
Banda Bassotti,
Qualms,
Beasts of Bourbon,
The Divine Comedy,
Lyres,
Simply Red,
James White and The Blacks,
D'Angelo,
Heaven 17,
Fela Kuti,
World's Most,
Stereo Dub,
Loose Ends,
the Fania All-Stars,
Absolute Body Control,
Supertramp,
The Red Krayola,
Alice Coltrane,
Glambeats Corp.,
Slick Rick,
Moebius,
Gang of Four,
Josef K,
Negative Approach,
Kerrie Biddell,
Jimmy McGriff,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.