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 Tanzania and from Toronto.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Cairo and Toronto.
I'm losing my edge to the art-school Beijing 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 Captain Beefheart 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 Names to the crunk 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 The Pretty Things. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every The Jesus and Mary Chain 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
The Cramps,
Tomorrow,
Massinfluence,
Robert Hood,
Robert Görl,
Mark Hollis,
The Motions,
Make Up,
Gang Gang Dance,
Ralphi Rosario,
Rotary Connection,
Outsiders,
Black Bananas,
Wolf Eyes,
B.T. Express,
Frankie Knuckles,
Boogie Down Productions,
John Lydon,
Trumans Water,
Model 500,
The Grass Roots,
Youth Brigade,
Neu!,
Radiopuhelimet,
The Saints,
Tropical Tobacco,
This Heat,
Deadbeat,
Rahsaan Roland Kirk,
The Fortunes,
De La Soul & Jungle Brothers,
Anthony Braxton,
Country Teasers,
DNA,
Minutemen,
Terrestrial Tones,
The Gories,
K-Klass,
Ludus,
The Sound,
The Litter,
Oneida,
The Stooges,
Jacob Miller,
The Five Americans,
Visage,
Barry Ungar,
Severed Heads,
Louis and Bebe Barron,
Fad Gadget,
Procol Harum,
John Foxx,
Rekid,
Nils Olav,
Oblivians,
Eli Mardock,
Throbbing Gristle,
Byron Stingily,
Aaron Thompson,
Scion,
Kerri Chandler,
The Durutti Column,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.