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 Trinidad & Tobago and from Halifax.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1974.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Winnipeg 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 sitar 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 Marvin Gaye to the grunge 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 Rowland S Howard / Lydia Lunch. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Kenny Larkin record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Selector Dub Narcotic,
Peter & Gordon,
Fluxion,
The Toasters,
Orchestral Manoeuvres in the Dark,
Derrick May,
Harmonia,
Jeru the Damaja,
Big Daddy Kane,
Judy Mowatt,
Japan,
DJ Style,
Kenny Larkin,
Monks,
Zero Boys,
Fad Gadget,
Roger Hodgson,
The Litter,
Josef K,
Outsiders,
Darondo,
Henry Cow,
Deepchord,
Parry Music,
Q65,
Bronski Beat,
Kaleidoscope,
Q and Not U,
Don Cherry,
Mandrill,
The Peanut Butter Conspiracy,
10cc,
Lou Reed & John Cale,
Surgeon,
Yazoo,
Sam Rivers,
Boogie Down Productions,
PIL,
Con Funk Shun,
Jacob Miller,
Delta 5,
Subhumans,
48th St. Collective,
E-Dancer,
Sandy B,
Kayak,
Ornette Coleman,
Marc Romboy vs. Booka Shade,
New York Dolls,
Lower 48,
Soft Machine,
Marmalade,
Todd Rundgren,
Au Pairs,
Sticky Fingaz feat. Raekwon,
Sunsets and Hearts,
Derrick Morgan,
Sex Pistols,
Roy Ayers, Roy Ayers, Roy Ayers, Roy Ayers.
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.