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 Syria and from Jakarta.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Tehran and Madrid.
I'm losing my edge to the art-school Taipei 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 PIL 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 Hasil Adkins. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Kayak,
Roger Hodgson,
Pulsallama,
Marshall Jefferson,
John Coltrane,
Avey Tare & Kría Brekkan,
Brass Construction,
The Cosmic Jokers,
Moebius,
U.S. Maple,
Boogie Down Productions,
Mandrill,
Nation of Ulysses,
Dual Sessions,
the Association,
Kool Moe Dee,
Jerry Gold Smith,
Motorama,
Neil Young & Crazy Horse,
The Trojans,
Kango’s Stein Massive,
Todd Rundgren,
The Associates,
Section 25,
Archie Shepp,
MC5,
Alison Limerick,
Angels of Light & Akron/Family,
Cameo,
Subhumans,
Eric Copeland,
Flash Fearless,
Niagra,
New York Dolls,
Anakelly,
JFA,
Mary Jane Girls,
Crash Course in Science,
Cymande,
Captain Beefheart & His Magic Band,
The Fall,
Grandmaster Flash,
Wolf Eyes,
The Zeros,
Supertramp,
Crime,
Janne Schatter,
DeepChord presents Echospace,
Hasil Adkins,
Marc Romboy vs. Booka Shade,
Josef K,
Eric Dolphy,
New Order,
Lizzy Mercier Descloux,
Laurel Aitken,
Beasts of Bourbon,
Patti Smith,
Ohio Players,
The Selecter,
Rakim,
The Moody Blues,
Throbbing Gristle,
Rapeman, Rapeman, Rapeman, Rapeman.
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.