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 Dominican Republic and from Stockholm.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Lille 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed 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 Funkadelic to the crunk kids.
I played it at the 40 Watt.
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 Brothers Johnson. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Youth Brigade record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
New Order,
Hoover,
The Blackbyrds,
De La Soul & Jungle Brothers,
Bobby Womack,
The Pop Group,
Sound Behaviour,
Joey Negro,
The Smoke,
The Pretty Things,
Royal Trux,
Jacob Miller,
Qualms,
Bush Tetras,
Nik Kershaw,
Black Moon,
Simply Red,
Adolescents,
Marcia Griffiths,
Minnie Riperton,
Black Sheep,
Kevin Saunderson,
Scratch Acid,
Amon Düül,
Bob Dylan,
the Bar-Kays,
Pantaleimon,
Bobbi Humphrey,
Slave,
Television Personalities,
Zero Boys,
Can,
Aural Exciters,
the Association,
Jerry's Kids,
Section 25,
Stereo Dub,
David McCallum,
Eric Dolphy,
the Germs,
Bauhaus,
The Raincoats,
John Foxx,
Bootsy Collins,
Peter and Kerry,
The Seeds,
Nils Olav,
Heaven 17,
Faraquet,
Outsiders,
Flamin' Groovies,
Harmonia,
Crooked Eye,
Yaz,
Connie Case,
Gong,
Urselle,
Kas Product, Kas Product, Kas Product, Kas Product.
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.