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 Armenia and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer 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 Toni Rubio to the crunk kids.
I played it at CBGB's.
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 Selector Dub Narcotic. All the underground hits.
All Soulsonic Force tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Gil Scott Heron,
Jesper Dahlbäck,
Crispian St. Peters,
Colin Newman,
Jeff Mills,
Johnny Clarke,
Derrick May,
The Monochrome Set,
the Bar-Kays,
Minor Threat,
Nils Olav,
Sixth Finger,
The Doors,
Oppenheimer Analysis,
Jerry's Kids,
Loose Ends,
Country Joe & The Fish,
Pantaleimon,
Lou Reed,
Absolute Body Control,
Big Daddy Kane,
Section 25,
Electric Prunes,
Girls At Our Best!,
Lebanon Hanover,
Black Moon,
The Detroit Cobras,
K-Klass,
Janne Schatter,
Cal Tjader,
Siouxsie and the Banshees,
June Days,
Gong,
Suburban Knight,
Harmonia,
Man Parrish,
Black Pus,
Gang of Four,
Art Ensemble Of Chicago,
Leonard Cohen,
The Cramps,
The Royal Family And The Poor,
Blake Baxter,
The Fuzztones,
Altered Images,
Peter and Kerry,
The Victims,
Agitation Free,
Deadbeat,
These Immortal Souls,
Interpol,
Sun Ra,
UT,
Radiohead,
Al Stewart,
Pantytec,
De La Soul & Jungle Brothers,
Flipper,
Soft Cell,
Bobby Hutcherson,
The Misunderstood,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.