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 Uganda and from Tokyo.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school New York 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the güiro 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 Metal Thangz to the rock kids.
I played it at Cafe Wha.
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 New York Dolls. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every The Cramps record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
The Men They Couldn't Hang,
Whodini,
The Detroit Cobras,
Brand Nubian,
Smog,
Gerry Rafferty,
Man Eating Sloth,
Kenny Larkin,
Spandau Ballet,
The Alarm Clocks,
The Toasters,
Country Joe & The Fish,
The Pretty Things,
Liliput,
The Slits,
Eyeless In Gaza,
Urselle,
Loose Ends,
Neu!,
Roxy Music,
Sun Ra,
Eli Mardock,
cv313,
Deadbeat,
Deepchord,
Pulsallama,
Avey Tare's Slasher Flicks,
Inner City,
Skaos,
Anthony Braxton,
Be Bop Deluxe,
John Foxx,
Aural Exciters,
Ituana,
Eric B and Rakim,
Beasts of Bourbon,
Swell Maps,
Rod Modell,
The Sound,
Japan,
Susan Cadogan,
Scott Walker + Sunn O))),
Ultra Naté,
Rekid,
Procol Harum,
Derrick May,
Tom Boy,
Kango’s Stein Massive,
Traffic Nightmare,
the Fania All-Stars,
Sight & Sound,
Cymande,
Wolf Eyes,
Dave Gahan,
Monolake,
The Slackers,
Major Organ And The Adding Machine,
Ludus,
Sugar Minott,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Visionaries,LMNO, T- Love & Iriscience,
Anakelly, Anakelly, Anakelly, Anakelly.
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.