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 Czech Republic and from Spokane.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Lagos and Woodstock.
I'm losing my edge to the art-school Madrid 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Pantytec to the jazz kids.
I played it at the 40 Watt.
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 a-ha. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Procol Harum,
Notorious BIG live in Amsterdam,
Basic Channel,
Aswad,
Arthur Verocai,
Lou Christie,
Lower 48,
Deadbeat,
Whodini,
Prince Buster,
Make Up,
Ludus,
The Cowsills,
The Flesh Eaters,
Model 500,
Rites of Spring,
Aloha Tigers,
Pylon,
Eurythmics,
The Sound,
John Coltrane,
Intrusion,
The Vogues,
Roxy Music,
R.M.O.,
The Durutti Column,
the Fania All-Stars,
Stiv Bators,
Sandy B,
Hasil Adkins,
Amazonics,
Avey Tare's Slasher Flicks,
Marcia Griffiths,
UT,
Nick Cave & The Bad Seeds,
Fela Kuti,
Bauhaus,
Lakeside,
Bootsy's Rubber Band,
Bobby Hutcherson,
The Dirtbombs,
B.T. Express,
Pussy Galore,
The Busters,
The Toasters,
Sugar Minott,
Godley & Creme,
the Soft Cell,
Connie Case,
Bootsy Collins,
Dennis Brown,
Angry Samoans,
Sun Ra Arkestra,
Hoover,
Cameo,
The Young Rascals,
OOIOO,
Cybotron,
Rekid,
Jeff Lynne,
Thompson Twins,
AZ,
ABC, ABC, ABC, ABC.
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.