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 United Kingdom and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Bremen and Madrid.
I'm losing my edge to the art-school Beijing 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Johnny Clarke to the crunk 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 Notorious BIG live in Amsterdam. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Bootsy Collins 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 '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
The Busters,
H. Thieme,
Boredoms,
Crime,
The Leaves,
Jandek,
Frankie Knuckles,
Louis and Bebe Barron,
Dead Boys,
The Men They Couldn't Hang,
James Chance & The Contortions,
Mo-Dettes,
The Techniques,
Colin Newman,
The Blues Magoos,
Zero Boys,
Das Ding,
Vladislav Delay,
The Fugs,
Thinking Fellers Union Local 282,
Lou Reed & Metallica,
Jeff Lynne,
Todd Terry,
the Fania All-Stars,
Youth Brigade,
Harpers Bizarre,
Orchestral Manoeuvres in the Dark,
Derrick May,
Khruangbin,
Pharoah Sanders,
Kenny Larkin,
The Fuzztones,
Siouxsie and the Banshees,
Ohio Players,
Sly & The Family Stone,
It's A Beautiful Day,
Minor Threat,
Ossler,
Sun Ra,
Soul Sonic Force,
Silicon Teens,
Aaron Thompson,
Aswad,
Sad Lovers and Giants,
Chrome,
Alison Limerick,
Monolake,
Blake Baxter,
Cluster,
Porter Ricks,
Notorious BIG live in Amsterdam,
Cabaret Voltaire,
Big Daddy Kane,
Supertramp,
New York Dolls,
Girls At Our Best!,
Selector Dub Narcotic,
Urselle,
Fela Kuti,
Blancmange,
Cameo,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.