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 Cyprus and from Hong Kong.
But I was there.
I was there in 1973.
I was there at the first Television 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 1961 to 1974.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator 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 Minutemen to the rap kids.
I played it at the Crocodile.
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 Ossler. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every Matthew Halsall record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Barclay James Harvest record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Roxy Music,
Das Ding,
Chris Corsano,
Magazine,
Notorious BIG live in Amsterdam,
Sexual Harrassment,
The Flesh Eaters,
Al Stewart,
Soft Machine,
Janne Schatter,
Darondo,
Louis and Bebe Barron,
These Immortal Souls,
Soulsonic Force,
Nils Olav,
Howard Jones,
Robert Hood,
The Doors,
Mars,
Alton Ellis,
Brand Nubian,
Minny Pops,
Oblivians,
Supertramp,
Gang Starr,
Maleditus Sound,
Dennis Brown,
Pet Shop Boys,
Bobbi Humphrey,
Faraquet,
Scion,
Larry & the Blue Notes,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Grass Roots,
Slave,
Bob Dylan,
Royal Trux,
Ralphi Rosario,
Wasted Youth,
Flipper,
Jesper Dahlbäck,
Grandmaster Flash and the Furious Five,
Nas,
Barry Ungar,
The Shadows of Knight,
The Gap Band,
Stereo Dub,
Max Romeo,
K-Klass,
Kaleidoscope,
John Lydon,
Barclay James Harvest,
The Vogues,
Simply Red,
Brick,
Kas Product,
Neil Young,
Reuben Wilson,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.