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 Morocco and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Bologna and London.
I'm losing my edge to the art-school Tokyo 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 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 Mo-Dettes 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 London Community Gospel Choir. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
Boredoms,
John Lydon,
The Zeros,
The Offenders,
Arab on Radar,
Electric Light Orchestra,
Jacob Miller,
Ultra Naté,
Shoche,
Nico,
Jeff Mills,
Camron Feat. Memphis Bleek And Beenie Seigel,
Vaughan Mason & Crew,
Ituana,
Newcleus,
The Cure,
Justin Hinds & The Dominoes,
Au Pairs,
Mad Mike,
Mantronix,
Crooked Eye,
the Sonics,
Roxy Music,
Man Parrish,
Kas Product,
Index,
Charles Mingus,
China Crisis,
Rakim,
The Move,
Fifty Foot Hose,
Lonnie Liston Smith,
Graham Central Station,
Mr. Review,
Electric Prunes,
Lucky Dragons,
Josef K,
Todd Rundgren,
The Raincoats,
Pole,
The Fire Engines,
Chris Corsano,
Lafayette Afro Rock Band,
Adolescents,
Con Funk Shun,
Simply Red,
Bobby Byrd,
Hoover,
Byron Stingily,
Rapeman,
The Smoke,
Bobby Womack,
Thompson Twins,
The Velvet Underground,
The Selecter,
Gregory Isaacs,
Judy Mowatt,
De La Soul & Jungle Brothers,
LL Cool J,
New York Dolls,
Leonard Cohen,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.