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 San Marino and from Bologna.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Columbus and Johannesburg.
I'm losing my edge to the art-school Milan 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the chamberlin 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 Art Ensemble Of Chicago to the disco 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 Hashim. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal dance 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 sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Chris & Cosey record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Public Enemy,
Skarface,
The Moleskins,
Clear Light,
Todd Rundgren,
Iggy Pop,
Josef K,
Terrestrial Tones,
Angels of Light & Akron/Family,
Monks,
Kenny Larkin,
David Axelrod,
the Normal,
Angry Samoans,
Eden Ahbez,
Ronnie Foster,
Public Image Ltd.,
Notorious BIG live in Amsterdam,
Roger Hodgson,
Avey Tare,
The Seeds,
Agent Orange,
LL Cool J,
ABBA,
Lindisfarne,
Tom Boy,
Tropical Tobacco,
Traffic Nightmare,
Television,
Toni Rubio,
Malaria!,
Index,
Joe Smooth,
Brick,
U.S. Maple,
Whodini,
Bill Near,
Black Sheep,
La Düsseldorf,
Sight & Sound,
Judy Mowatt,
Ice-T,
Barclay James Harvest,
Motorama,
Lakeside,
Circle Jerks,
Jacob Miller,
Suburban Knight,
Teenage Jesus and the Jerks,
The Shadows of Knight,
Max Romeo,
B.T. Express,
Gang Starr,
Tres Demented,
Sällskapet,
The Walker Brothers,
Andrew Hill,
Theoretical Girls,
The Men They Couldn't Hang,
Marc Almond,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.