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 Russia and from Stockholm.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Manila 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 The Buckinghams to the jazz kids.
I played it at the Astoria.
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 Country Joe & The Fish. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Wasted Youth record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Desert Stars,
Slave,
Funkadelic,
New Order,
Ohio Players,
Half Japanese,
Sonic Youth,
T.S.O.L.,
Ten City,
The Toasters,
U.S. Maple,
Johnny Osbourne,
a-ha,
X-102,
Arab on Radar,
The Star Department,
Derrick Morgan,
The Men They Couldn't Hang,
FM Einheit,
Lightning Bolt,
Orchestral Manoeuvres in the Dark,
Manfred Mann's Earth Band,
Rekid,
Larry & the Blue Notes,
The Fire Engines,
Inner City,
The Martian,
Jimmy McGriff,
Joey Negro,
Bauhaus,
Bobby Byrd,
It's A Beautiful Day,
Kings Of Tomorrow,
Jacob Miller,
Masters at Work,
Buzzcocks,
Ultimate Spinach,
Jawbox,
Freddie Wadling,
Harpers Bizarre,
Nirvana,
Terry Callier,
The Count Five,
Henry Cow,
Strawberry Alarm Clock,
Babytalk,
The Fugs,
Echo & the Bunnymen,
Crispian St. Peters,
Theoretical Girls,
Gil Scott-Heron & Brian Jackson,
Average White Band,
Pantytec,
The Slits,
The Shadows of Knight,
Gil Scott-Heron and Jamie xx,
Sticky Fingaz feat. Raekwon,
Underground Resistance,
Gang of Four,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.