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 Fiji and from Calgary.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Delhi and Lyon.
I'm losing my edge to the art-school Tehran 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Suicide to the grunge kids.
I played it at the Spitz.
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 Kenny Larkin. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every the Fania All-Stars 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a MC5 record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Basic Channel,
Negative Approach,
Buzzcocks,
Joe Finger,
Byron Stingily,
Dorothy Ashby,
Bauhaus,
T.S.O.L.,
Mad Mike,
Hot Snakes,
Quantec,
Charles Mingus,
Jacob Miller,
Boredoms,
Electric Light Orchestra,
Minor Threat,
Masters at Work,
Wings,
Guru Guru,
Nick Fraelich,
X-102,
The Count Five,
Babytalk,
The Smiths,
Swans,
Joe Smooth,
MC5,
The Sound,
The Gories,
Outsiders,
Pere Ubu,
Siouxsie and the Banshees,
Al Stewart,
Hashim,
The Gun Club,
Alice Coltrane,
Y Pants,
Technova,
Spoonie Gee,
Section 25,
Little Man,
L. Decosne,
Suburban Knight,
Rhythim Is Rhythim,
Ornette Coleman,
Lyres,
Thompson Twins,
Reuben Wilson,
Danielle Patucci,
Radiopuhelimet,
Matthew Bourne,
Urselle,
Pierre Henry,
Piero Umiliani,
The Doors,
the Normal,
Gabor Szabo,
Red Lorry Yellow Lorry,
Cluster,
Brass Construction,
Fugazi,
Godley & Creme,
Make Up,
Chrome,
The Fuzztones, The Fuzztones, The Fuzztones, The Fuzztones.
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.