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 Monaco and from Cairo.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Winnipeg 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Neu! to the jazz kids.
I played it at CBGB's.
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 PIL. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
Scrapy,
The Pretty Things,
The Saints,
Flipper,
The Smiths,
Susan Cadogan,
Kauko Röyhkä ja Narttu,
The Young Rascals,
Flamin' Groovies,
Colin Newman,
Cluster,
Roy Ayers Ubiquity,
Hashim,
Gian Franco Pienzio,
Deakin,
Glambeats Corp.,
Procol Harum,
Alison Limerick,
Sam Rivers,
Steve Hackett,
Silicon Teens,
R.M.O.,
Yazoo,
Idris Muhammad,
Gil Scott Heron,
DNA,
Heaven 17,
Soft Machine,
The Fugs,
Mars,
Bill Near,
The Peanut Butter Conspiracy,
Nik Kershaw,
Avey Tare,
Pulsallama,
Theoretical Girls,
Moby Grape,
H. Thieme,
Interpol,
Zapp,
Buzzcocks,
Y Pants,
La Düsseldorf,
Toni Rubio,
Masters at Work,
Ice-T,
The Index,
The Busters,
Roy Ayers,
Scratch Acid,
Black Sheep,
Goldenarms,
Black Bananas,
Roger Hodgson,
Don Cherry,
Louis and Bebe Barron,
Soul II Soul,
Sugar Minott,
Fatback Band,
The Beau Brummels,
Ronan, Ronan, Ronan, Ronan.
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.