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 Liberia and from New York.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Seoul and Lille.
I'm losing my edge to the art-school Philadelphia 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 Nile Rodgers 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 Crime to the dance kids.
I played it at the Spitz.
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 Scratch Acid. All the underground hits.
All The Divine Comedy 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 electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Sällskapet,
the Sonics,
Tommy Roe,
Louis and Bebe Barron,
DJ Sneak,
Jesper Dahlback,
The Count Five,
AZ,
Roxette,
Rekid,
Röyhkä ja Rättö ja Lehtisalo,
Liliput,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Cal Tjader,
Avey Tare,
Lalann,
Terror Squad Feat. Camron,
Icehouse,
Gabor Szabo,
The American Breed,
Deakin,
The Barracudas,
Metal Thangz,
David McCallum,
Reagan Youth,
Susan Cadogan,
Lou Reed & John Cale,
Morten Harket,
Bobby Sherman,
The Leaves,
Joy Division,
Lou Reed & Metallica,
Gian Franco Pienzio,
Ultimate Spinach,
Gil Scott Heron,
Rapeman,
Stockholm Monsters,
The Men They Couldn't Hang,
Livin' Joy,
Glambeats Corp.,
Traffic Nightmare,
Max Romeo,
Royal Trux,
Bill Near,
Lee Hazlewood,
David Axelrod,
Electric Light Orchestra,
The Cramps,
Donny Hathaway,
Letta Mbulu,
Lindisfarne,
Amazonics,
Make Up,
Guru Guru,
The Golliwogs,
Audionom,
Man Parrish,
Mission of Burma,
The Five Americans,
Public Enemy,
Mantronix,
Avey Tare & Kría Brekkan,
China Crisis, China Crisis, China Crisis, China Crisis.
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.