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 Samoa and from Seoul.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Toronto and Manchester.
I'm losing my edge to the art-school Bremen 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Flipper to the electroclash 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 David McCallum. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Main Source record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Jerry's Kids,
Gong,
Peter Gordon & Love of Life Orchestra,
Mandrill,
U.S. Maple,
EPMD,
Eric B and Rakim,
Franke,
The Young Rascals,
Kool G Rap & DJ Polo,
The Dirtbombs,
Yaz,
Black Flag,
Procol Harum,
Bootsy's Rubber Band,
The Selecter,
Ossler,
JFA,
The Happenings,
Laurel Aitken,
Donny Hathaway,
The Vogues,
Soulsonic Force,
Infiniti,
Gil Scott-Heron and Jamie xx,
Saccharine Trust,
Ajijia Myrayebe,
Skaos,
ABBA,
David Axelrod,
Super Lover Cee & Casanova Rud,
Supertramp,
R.M.O.,
Dorothy Ashby,
The Associates,
Bauhaus,
Major Organ And The Adding Machine,
Tommy Roe,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Wally Richardson,
Reuben Wilson,
Outsiders,
PIL,
Tomorrow,
Con Funk Shun,
Neil Young & Crazy Horse,
Pylon,
Minny Pops,
Frankie Knuckles,
Hashim,
Urselle,
Manfred Mann's Earth Band,
Tim Buckley,
The Peanut Butter Conspiracy,
Ronan,
The Cosmic Jokers,
Man Parrish,
The Remains,
Anakelly,
Subhumans,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.