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 Gabon and from Shanghai.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1975.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Jakarta 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 sitar sounds with much patience.
I was there when Holger Czukay 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 Funky Four + One to the grime 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 Max Romeo. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
Warren Ellis,
Soul II Soul,
Visage,
Tubeway Army,
Joe Finger,
Jawbox,
Spandau Ballet,
Yaz,
Bobby Hutcherson,
Todd Terry,
Malaria!,
Drexciya,
Metal Thangz,
Derrick Morgan,
Eric Copeland,
The Durutti Column,
The Move,
Gong,
Barbara Tucker,
Soft Machine,
Lightning Bolt,
D'Angelo,
Louis and Bebe Barron,
The Beau Brummels,
Traffic Nightmare,
Juan Atkins,
Goldenarms,
The Standells,
Adolescents,
Roy Ayers Ubiquity,
Neil Young,
Zapp,
The Barracudas,
Sixth Finger,
Technova,
Panda Bear,
Bill Near,
The Remains,
Alice Coltrane,
Bootsy's Rubber Band,
Toni Rubio,
Outsiders,
Kerri Chandler,
Excepter,
Ludus,
The Litter,
Wally Richardson,
Rites of Spring,
Lafayette Afro Rock Band,
Sparks,
June of 44,
The Fire Engines,
Grandmaster Flash,
New York Dolls,
Suicide,
Aaron Thompson,
Oblivians,
Joe Smooth,
Depeche Mode,
Groovy Waters,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.