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 Lebanon and from Bremen.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Columbus and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 güiro 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 Nik Kershaw to the crunk 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 Basic Channel. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every The Detroit Cobras 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 '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Black Sheep,
Model 500,
Fatback Band,
Shoche,
Yusef Lateef,
Patti Smith,
X-101,
Fugazi,
Pharaoh Sanders and the Fire Engines,
The Names,
Warren Ellis,
the Slits,
Sandy B,
Slave,
Scott Walker + Sunn O))),
The Cramps,
Soulsonic Force,
New York Dolls,
Rites of Spring,
David Axelrod,
A Flock of Seagulls,
Little Man,
Crime,
Oblivians,
Soft Machine,
Black Moon,
Tim Buckley,
Aaron Thompson,
Simply Red,
Mr. Review,
Eric Dolphy,
Arthur Verocai,
Graham Central Station,
The Move,
Lightning Bolt,
Bang on a Can All-Stars,
John Holt,
Barrington Levy,
The Sisters of Mercy,
Steve Hackett,
The Black Dice,
Joy Division,
Dual Sessions,
New Order,
Con Funk Shun,
Drexciya,
Ornette Coleman,
Tomorrow,
Organ,
Tears for Fears,
ABBA,
The Electric Prunes,
Lalo Schifrin,
Tubeway Army,
Mandrill,
Wings,
Severed Heads,
Anakelly,
This Heat,
Eden Ahbez,
Skriet,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.