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 Germany and from Edmonton.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Toronto and Jakarta.
I'm losing my edge to the art-school Edmonton 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 snare sounds with much patience.
I was there when Lou Reed 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 Gang of Four to the jazz kids.
I played it at CBGB's.
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 Sex Pistols. All the underground hits.
All Pagans tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
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 Unrelated Segments record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Derrick May,
Barrington Levy,
The Raincoats,
Boogie Down Productions,
Josef K,
T.S.O.L.,
Y Pants,
Gang of Four,
Pierre Henry,
Heavy D & The Boyz,
The Saints,
D'Angelo,
Qualms,
The Electric Prunes,
Colin Newman,
Agent Orange,
The Real Kids,
Fear,
Aural Exciters,
Electric Prunes,
New York Dolls,
Juan Atkins,
Camberwell Now,
The Kinks,
David Axelrod,
Bob Dylan,
Mad Mike,
Morten Harket,
The Sound,
Robert Görl,
Glambeats Corp.,
Lee Hazlewood,
Q65,
Flamin' Groovies,
The Misunderstood,
Terrestrial Tones,
Major Organ And The Adding Machine,
The Beau Brummels,
Bizarre Inc.,
The Durutti Column,
Faraquet,
Ajijia Myrayebe,
Fat Boys,
Underground Resistance,
Laurel Aitken,
Kenny Larkin,
Outsiders,
Roxy Music,
Slave,
Wasted Youth,
Adolescents,
Quantec,
DNA,
Au Pairs,
Letta Mbulu,
Wire,
Ludus,
The Motions,
Al Stewart,
Jawbox,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.