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 El Salvador and from Paris.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Delhi 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 Eve St. Jones to the dance 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 Beasts of Bourbon. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every The Five Americans 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Fela Kuti,
Nick Cave & The Bad Seeds,
Bobbi Humphrey,
Marine Girls,
Porter Ricks,
The United States of America,
Depeche Mode,
Avey Tare,
Lafayette Afro Rock Band,
Gary Puckett & The Union Gap,
Quando Quango,
Infiniti,
Alton Ellis,
Lalo Schifrin,
Rod Modell,
The Sonics,
Kas Product,
The Last Poets,
Boogie Down Productions,
Au Pairs,
Soul II Soul,
Gong,
The Neon Judgement,
Ten City,
The Detroit Cobras,
Desert Stars,
Sister Nancy,
Michelle Simonal,
Subhumans,
Hot Snakes,
Vladislav Delay,
Ludus,
Marcia Griffiths,
The Leaves,
Ralphi Rosario,
Nirvana,
X-102,
Urselle,
Gil Scott-Heron & Brian Jackson,
Cabaret Voltaire,
Gang Gang Dance,
Brothers Johnson,
Negative Approach,
China Crisis,
Stetsasonic,
Barry Ungar,
Gil Scott Heron,
Sonny Sharrock,
The Dead C,
Ken Boothe,
Underground Resistance,
Juan Atkins,
Avey Tare & Kría Brekkan,
Japan,
The Associates,
Jandek,
Orchestral Manoeuvres in the Dark,
Gerry Rafferty,
Black Flag,
Warren Ellis,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.