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 Mauritania and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1960 to 1977.
I'm losing my edge.
To all the kids in New York and Sao Paulo.
I'm losing my edge to the art-school Cairo 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 marimba 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 Masters at Work to the funk kids.
I played it at the Hacienda.
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 Alison Limerick. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal grime 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 rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
The Birthday Party,
Fatback Band,
Sad Lovers and Giants,
Ash Ra Tempel,
Gabor Szabo,
Rites of Spring,
Eric Dolphy,
Nick Fraelich,
Intrusion,
Lizzy Mercier Descloux,
Slave,
Nik Kershaw,
The Remains,
Gichy Dan,
Technova,
Anthony Braxton,
Sight & Sound,
Underground Resistance,
a-ha,
Johnny Clarke,
Gang Gang Dance,
Groovy Waters,
Circle Jerks,
Roy Ayers Ubiquity,
Sex Pistols,
cv313,
Suicide,
Soul II Soul,
Yusef Lateef,
Reagan Youth,
Sixth Finger,
Metal Thangz,
Al Stewart,
Thompson Twins,
Sun City Girls,
Visage,
Los Fastidios,
Section 25,
Matthew Halsall,
The Evens,
Don Cherry,
Ten City,
Connie Case,
LL Cool J,
The Doobie Brothers,
Crash Course in Science,
The Offenders,
The Gladiators,
Lucky Dragons,
Fort Wilson Riot,
MC5,
The Peanut Butter Conspiracy,
Danielle Patucci,
The Dead C,
Judy Mowatt,
Pantaleimon,
Jeff Lynne,
the Swans,
Joensuu 1685,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.