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 Somalia and from Copenhagen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Madrid.
I'm losing my edge to the art-school Johannesburg 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Monolake to the jazz kids.
I played it at Trash.
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 B.T. Express. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Liaisons Dangereuses 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Stiv Bators,
The Doors,
The Victims,
Bang On A Can,
Roxy Music,
The Vogues,
The Sonics,
The Moleskins,
Robert Görl,
Sly & The Family Stone,
The Knickerbockers,
Bob Dylan,
Neu!,
Heaven 17,
Television,
One Last Wish,
Sarah Menescal,
Beasts of Bourbon,
Notorious BIG live in Amsterdam,
Big Daddy Kane,
Steve Hackett,
The Residents,
June of 44,
Model 500,
MC5,
Robert Hood,
Brothers Johnson,
Michelle Simonal,
Gabor Szabo,
Vladislav Delay,
These Immortal Souls,
Ituana,
The Human League,
The Offenders,
The Invisible,
Groovy Waters,
UT,
Thinking Fellers Union Local 282,
Scratch Acid,
Todd Terry,
Ultramagnetic MC's,
Girls At Our Best!,
FM Einheit,
Jacob Miller,
Davy DMX,
Bobby Hutcherson,
Whodini,
Jeff Lynne,
A Certain Ratio,
Rekid,
The Fire Engines,
Monks,
The Shadows of Knight,
Lyres,
Maurizio,
Tubeway Army,
The West Coast Pop Art Experimental Band,
Alison Limerick,
Mars,
Swans,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
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.