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 Liechtenstein and from Sao Paulo.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Lagos 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 at the first Suicide practice in a loft in New York.
I was working on the snare 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 The Last Poets to the rock 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 The Divine Comedy. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Johnny Clarke 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 '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Pop Group record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Red Lorry Yellow Lorry,
Saccharine Trust,
Jimmy McGriff,
Thompson Twins,
The West Coast Pop Art Experimental Band,
Essential Logic,
Art Ensemble Of Chicago,
Donny Hathaway,
Pantaleimon,
Johnny Osbourne,
Quadrant,
Stiv Bators,
Lizzy Mercier Descloux,
Barclay James Harvest,
Aaron Thompson,
Pussy Galore,
Animal Collective,
Heavy D & The Boyz,
Dr. Dre and Snoop Doggy Dog,
Cymande,
Scott Walker + Sunn O))),
The American Breed,
Jacques Brel,
Nas,
Pulsallama,
Hasil Adkins,
Grandmaster Flash,
Stockholm Monsters,
June of 44,
PIL,
The Royal Family And The Poor,
Morten Harket,
Index,
Scratch Acid,
Alison Limerick,
Derrick May,
The Motions,
Los Fastidios,
Supertramp,
Robert Görl,
Talk Talk,
Au Pairs,
Schoolly D,
One Last Wish,
Pharoah Sanders,
Kango’s Stein Massive,
Maurizio,
The Leaves,
Kevin Saunderson,
Skriet,
Ituana,
Television,
Interpol,
Flipper,
The Misunderstood,
Make Up,
The Cramps,
Das Ding,
The Names,
Bush Tetras,
Scan 7,
Urselle, Urselle, Urselle, Urselle.
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.