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 Belarus and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 spring reverb 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 Saccharine Trust to the dance kids.
I played it at the 40 Watt.
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 D'Angelo. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Eurythmics 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 an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Alison Limerick,
Panda Bear,
Chris Corsano,
Scott Walker + Sunn O))),
Massinfluence,
Kerri Chandler,
The Durutti Column,
Pharaoh Sanders and the Fire Engines,
The Cramps,
Joey Negro,
B.T. Express,
Major Organ And The Adding Machine,
Scott Walker,
Funky Four + One,
DJ Sneak,
The Invisible,
Leonard Cohen,
Ornette Coleman,
Swans,
The Fugs,
Technova,
Patti Smith,
Moby Grape,
Tears for Fears,
Nas,
Warsaw,
Curtis Mayfield,
H. Thieme,
Camouflage,
Joyce Sims,
Jacob Miller,
Laurel Aitken,
AZ,
Eurythmics,
Fear,
The Misunderstood,
Eric Copeland,
Ponytail,
London Community Gospel Choir,
Roy Ayers Ubiquity,
Camron Feat. Jay Z And Juelz,
Black Pus,
Radiopuhelimet,
The Neon Judgement,
MC5,
The Gladiators,
The West Coast Pop Art Experimental Band,
Henry Cow,
the Swans,
Bronski Beat,
Theoretical Girls,
The Saints,
Dual Sessions,
Brand Nubian,
The Seeds,
Gil Scott-Heron & Brian Jackson,
Deadbeat,
Flamin' Groovies,
Glambeats Corp.,
Faraquet,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.