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 Indonesia and from Mexico City.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Salvador.
I'm losing my edge to the art-school Shanghai 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 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 Doobie Brothers to the rock kids.
I played it at the Astoria.
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 Ultravox. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every The Smoke 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Connie Case,
Suburban Knight,
Pet Shop Boys,
Altered Images,
Pole,
Fear,
Darondo,
the Human League,
H. Thieme,
Quando Quango,
Rhythm & Sound,
Brothers Johnson,
The Leaves,
The Victims,
James White and The Blacks,
The Vogues,
Ajijia Myrayebe,
Fad Gadget,
Scratch Acid,
Althea and Donna,
Super Lover Cee & Casanova Rud,
Lower 48,
Ituana,
Slick Rick,
Japan,
The Grass Roots,
Pussy Galore,
The Cure,
Country Teasers,
Oblivians,
Neu!,
Terrestrial Tones,
The Moody Blues,
Crooked Eye,
Rekid,
The Remains,
Black Bananas,
Oppenheimer Analysis,
Warsaw,
Alice Coltrane,
Electric Light Orchestra,
Roy Ayers Ubiquity,
Nick Cave & The Bad Seeds,
The Alarm Clocks,
Avey Tare,
Patti Smith,
Arab on Radar,
Porter Ricks,
Beasts of Bourbon,
Marcia Griffiths,
Sam Rivers,
The Birthday Party,
Todd Terry,
Masters at Work,
Sugar Minott,
Rhythim Is Rhythim,
Gil Scott-Heron and Jamie xx,
Q and Not U,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.