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 Israel and from Seoul.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Mexico City and London.
I'm losing my edge to the art-school Seoul 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Dead Boys to the electroclash 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 Lizzy Mercier Descloux. All the underground hits.
All R.M.O. tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s 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 Magazine record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aswad,
The Dave Clark Five,
Sparks,
Roy Ayers Ubiquity,
The Five Americans,
Rhythim Is Rhythim,
Crash Course in Science,
The Moleskins,
Stereo Dub,
Liaisons Dangereuses,
Sad Lovers and Giants,
Marshall Jefferson,
Lalann,
Minutemen,
The Human League,
Kool Moe Dee,
Country Joe & The Fish,
The Move,
Connie Case,
Flamin' Groovies,
R.M.O.,
Arthur Verocai,
In Retrospect,
Agent Orange,
Pylon,
Moebius,
FM Einheit,
Camron Feat. Memphis Bleek And Beenie Seigel,
Interpol,
Erykah Badu,
Rod Modell,
Scratch Acid,
Joyce Sims,
Nick Fraelich,
Fear,
Todd Terry,
Be Bop Deluxe,
Organ,
Laurel Aitken,
Arcadia,
the Slits,
Vladislav Delay,
June Days,
Livin' Joy,
Avey Tare's Slasher Flicks,
Ultimate Spinach,
Marmalade,
Ultravox,
T. Rex,
Skaos,
Brothers Johnson,
Gang of Four,
UT,
Richard Hell and the Voidoids,
Cheater Slicks,
Carl Craig,
Ossler,
Fort Wilson Riot,
Public Image Ltd.,
The Selecter, The Selecter, The Selecter, The Selecter.
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.