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 Belgium and from Glasgow.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Lagos.
I'm losing my edge to the art-school Lyon 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 arpeggiator 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 Lucky Dragons to the electroclash kids.
I played it at Cafe Wha.
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 Lou Christie. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every L. Decosne record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Juan Atkins,
Electric Light Orchestra,
The Offenders,
Bauhaus,
Robert Hood,
The Alarm Clocks,
Lou Reed & Metallica,
Cecil Taylor,
Michelle Simonal,
R.M.O.,
Underground Resistance,
Bootsy Collins,
The Durutti Column,
Minor Threat,
Nas,
John Cale,
Oneida,
The Happenings,
Judy Mowatt,
Ten City,
Moby Grape,
Ituana,
Sarah Menescal,
The Kinks,
Animal Collective,
Sugar Minott,
Oblivians,
Davy DMX,
Khruangbin,
the Sonics,
Sam Rivers,
Red Lorry Yellow Lorry,
The Cure,
Eddi Front,
Gichy Dan,
the Bar-Kays,
Sun City Girls,
The Star Department,
Aural Exciters,
The Names,
Susan Cadogan,
Althea and Donna,
Banda Bassotti,
Surgeon,
The Red Krayola,
The Modern Lovers,
Richard Hell and the Voidoids,
Gil Scott-Heron & Brian Jackson,
Y Pants,
The Knickerbockers,
Pussy Galore,
The Zeros,
the Soft Cell,
Patti Smith,
Dark Day,
Mars,
Easy Going,
Bobby Byrd,
Camron Feat. Jay Z And Juelz,
Fat Boys,
Schoolly D,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.