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 Netherlands and from Bremen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1970.
I'm losing my edge.
To all the kids in Winnipeg and Paris.
I'm losing my edge to the art-school Spokane 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 mellotron 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 Strawberry Alarm Clock to the grunge kids.
I played it at the Hacienda.
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 Bauhaus. All the underground hits.
All Deadbeat tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mo-Dettes record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
the Human League,
Lou Reed,
Crooked Eye,
Inner City,
The Stooges,
The Busters,
The Mojo Men,
Flash Fearless,
Robert Görl,
Accadde A,
Scan 7,
Cecil Taylor,
Peter and Kerry,
Minny Pops,
Guru Guru,
Röyhkä ja Rättö ja Lehtisalo,
The Flesh Eaters,
Jeff Mills,
Grey Daturas,
Fear,
Circle Jerks,
Cheater Slicks,
EPMD,
Index,
Connie Case,
Nirvana,
8 Eyed Spy,
Radiopuhelimet,
Desert Stars,
Make Up,
Smog,
Moebius,
Dark Day,
Wasted Youth,
Saccharine Trust,
Terror Squad Feat. Camron,
Camberwell Now,
The Neon Judgement,
Hasil Adkins,
Amazonics,
Au Pairs,
The Cure,
Tomorrow,
Ash Ra Tempel,
Marcia Griffiths,
Depeche Mode,
Minnie Riperton,
The New Christs,
Boz Scaggs,
Roy Ayers Ubiquity,
The Smoke,
The Electric Prunes,
Davy DMX,
Shuggie Otis,
Von Mondo,
The Men They Couldn't Hang,
Black Flag,
Terrestrial Tones,
Kerri Chandler,
Quadrant,
Interpol,
Big Daddy Kane,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.