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 Estonia and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Hong Kong 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 organ 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 The Moody Blues to the rock 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 The West Coast Pop Art Experimental Band. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal grunge 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 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a E-Dancer record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Lou Reed,
Rod Modell,
Negative Approach,
Sonic Youth,
Joe Smooth,
Notorious BIG live in Amsterdam,
Throbbing Gristle,
Sight & Sound,
Drexciya,
New York Dolls,
The Count Five,
Scratch Acid,
Aswad,
Arthur Verocai,
The Index,
The Cowsills,
Skaos,
Lightning Bolt,
Stereo Dub,
Lalo Schifrin,
Nik Kershaw,
The New Christs,
Tres Demented,
Pantytec,
Pierre Henry,
Sarah Menescal,
Sugar Minott,
Jimmy McGriff,
Tropical Tobacco,
Duran Duran,
Lindisfarne,
Supertramp,
Scrapy,
Pharaoh Sanders and the Fire Engines,
FM Einheit,
Rhythim Is Rhythim,
Public Enemy,
Swell Maps,
Little Man,
Kevin Saunderson,
Lizzy Mercier Descloux,
Andrew Ashong & Theo Parrish,
Japan,
Sticky Fingaz feat. Raekwon,
Unwound,
Funky Four + One,
Lou Reed & John Cale,
Barrington Levy,
Technova,
Johnny Osbourne,
Oppenheimer Analysis,
Flipper,
Eyeless In Gaza,
Bush Tetras,
Easy Going,
Nils Olav,
Alice Coltrane,
Carl Craig,
Sly & The Family Stone,
Average White Band,
Gang Starr, Gang Starr, Gang Starr, Gang Starr.
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.