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 Qatar and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Lagos 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 snare 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 Velvet Underground to the electroclash kids.
I played it at the Troubador.
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 Glambeats Corp.. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal grunge 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 harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Rakim,
Hasil Adkins,
Oppenheimer Analysis,
Marmalade,
Andrew Hill,
Can,
Barrington Levy,
JFA,
Q and Not U,
The Techniques,
Johnny Osbourne,
Faraquet,
Section 25,
The Electric Prunes,
Deepchord,
Ajijia Myrayebe,
Mr. Review,
Bob Dylan,
The Fall,
Reuben Wilson,
Boogie Down Productions,
Fugazi,
Flipper,
The Smiths,
Marcia Griffiths,
Scratch Acid,
The Moody Blues,
Arthur Verocai,
Lee Hazlewood,
Surgeon,
Black Moon,
the Slits,
Moss Icon,
Quando Quango,
Khruangbin,
Soft Cell,
Gerry Rafferty,
Gong,
New York Dolls,
Bang on a Can All-Stars,
Yazoo,
Lonnie Liston Smith,
Richard Hell and the Voidoids,
Red Lorry Yellow Lorry,
Joensuu 1685,
Gichy Dan,
Mantronix,
The Cure,
Brass Construction,
Maurizio,
Terror Squad Feat. Camron,
Aswad,
Sly & The Family Stone,
Make Up,
Popol Vuh,
Curtis Mayfield,
John Holt,
The Jesus and Mary Chain,
Tubeway Army,
The Star Department,
Alice Coltrane,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.