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 Honduras and from Columbus.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school Jakarta 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 1973 at the first Television practice in a loft in New York.
I was working on the guitar 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 The Doors to the grunge kids.
I played it at Trash.
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 Chocolate Watch Band. All the underground hits.
All Howard Jones tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work 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?
Loose Ends,
Quantec,
Amon Düül II,
Kaleidoscope,
Bronski Beat,
Röyhkä ja Rättö ja Lehtisalo,
Moss Icon,
LL Cool J,
Red Lorry Yellow Lorry,
These Immortal Souls,
Graham Central Station,
Soulsonic Force,
The Slits,
Lightning Bolt,
The Blackbyrds,
Sound Behaviour,
Blancmange,
MDC,
Country Joe & The Fish,
Eve St. Jones,
Blake Baxter,
Donny Hathaway,
Lou Reed & Metallica,
The Cramps,
Black Sheep,
Basic Channel,
Stetsasonic,
Mad Mike,
Jacques Brel,
Robert Wyatt,
The Young Rascals,
Hasil Adkins,
Lalo Schifrin,
China Crisis,
Eddi Front,
Freddie Wadling,
Johnny Osbourne,
Section 25,
The Motions,
Marcia Griffiths,
Ash Ra Tempel,
H. Thieme,
The Gladiators,
Eric B and Rakim,
The Alarm Clocks,
Young Marble Giants,
Lonnie Liston Smith,
Radio Birdman,
Sly & The Family Stone,
The Dave Clark Five,
Don Cherry,
Captain Beefheart & His Magic Band,
Yellowson,
The Seeds,
Simply Red,
DeepChord presents Echospace,
Sugar Minott,
The American Breed,
Circle Jerks,
Sam Rivers,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.