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 Tuvalu and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1971.
I'm losing my edge.
To all the kids in Toronto and Manila.
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 linndrum sounds with much patience.
I was there when David Bowie 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 Mark Hollis to the disco 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 Can. All the underground hits.
All Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic tracks. I heard you have a vinyl of every MC5 record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Patti Smith,
The Fortunes,
Tears for Fears,
The Moody Blues,
Sunsets and Hearts,
Guru Guru,
Smog,
Throbbing Gristle,
Larry & the Blue Notes,
Hoover,
Eric B and Rakim,
The Knickerbockers,
Stereo Dub,
Marmalade,
Lightning Bolt,
cv313,
Orchestral Manoeuvres in the Dark,
Alphaville,
Roxette,
The Toasters,
The Men They Couldn't Hang,
Kerri Chandler,
The Divine Comedy,
CMW,
Dorothy Ashby,
Nick Cave & The Bad Seeds,
Sad Lovers and Giants,
Pagans,
John Foxx,
It's A Beautiful Day,
DJ Style,
Junior Murvin,
Sly & The Family Stone,
Faust,
Don Cherry,
Connie Case,
Bizarre Inc.,
The Victims,
Angels of Light & Akron/Family,
The Black Dice,
Avey Tare & Kría Brekkan,
The Vogues,
Terrestrial Tones,
Young Marble Giants,
Toni Rubio,
The Techniques,
The Cure,
Arab on Radar,
Rotary Connection,
Matthew Halsall,
DNA,
Bang On A Can,
Faraquet,
Davy DMX,
Skarface,
Isaac Hayes,
Pantytec,
Eyeless In Gaza,
The Flesh Eaters,
Sexual Harrassment,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.