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 Chad and from New York.
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 1969 to 1972.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Cairo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Soft Machine to the rock kids.
I played it at the Crocodile.
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 Rufus Thomas. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
The Alarm Clocks,
Fort Wilson Riot,
Pantaleimon,
Roy Ayers Ubiquity,
The Cramps,
The Men They Couldn't Hang,
The Blackbyrds,
Jeff Mills,
Junior Murvin,
Khruangbin,
Yaz,
Maurizio,
Monks,
Black Pus,
Andrew Hill,
Rosa Yemen,
Flamin' Groovies,
John Foxx,
Pulsallama,
Godley & Creme,
10cc,
Simply Red,
Derrick May,
Letta Mbulu,
Marc Almond,
Procol Harum,
Andrew Ashong & Theo Parrish,
Glenn Branca,
This Heat,
Camron Feat. Memphis Bleek And Beenie Seigel,
Funky Four + One,
Arthur Verocai,
Alison Limerick,
Q and Not U,
Ken Boothe,
James White and The Blacks,
Dark Day,
Grey Daturas,
N.O.R.E. Featuring Pharrell,
Howard Jones,
Roxette,
The Buckinghams,
Toni Rubio,
Radiopuhelimet,
K-Klass,
Harpers Bizarre,
Jimmy McGriff,
Bobby Sherman,
The Remains,
Cameo,
E-Dancer,
Lafayette Afro Rock Band,
The Motions,
Bang On A Can,
Radio Birdman,
Deutsch Amerikanische Freundschaft,
Lou Reed & Metallica,
the Human League,
Pole,
Marc Romboy vs. Booka Shade,
Fela Kuti,
Soul II Soul, Soul II Soul, Soul II Soul, Soul II Soul.
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.