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 Marshall Islands and from Taipei.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Tokyo and Manila.
I'm losing my edge to the art-school Mumbai 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 at the first Suicide practice in a loft in New York.
I was working on the chamberlin 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 Can to the funk 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 U.S. Maple. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Nas record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a ABC record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Minor Threat,
The Fire Engines,
Television,
Bootsy Collins,
Whodini,
La Düsseldorf,
DJ Style,
Ajijia Myrayebe,
Shuggie Otis,
Fort Wilson Riot,
Notorious BIG live in Amsterdam,
Outsiders,
Boogie Down Productions,
Angry Samoans,
Gerry Rafferty,
Ituana,
Radiopuhelimet,
Röyhkä ja Rättö ja Lehtisalo,
Liaisons Dangereuses,
Joensuu 1685,
The Monks,
De La Soul & Jungle Brothers,
Ornette Coleman,
Bluetip,
The Saints,
OOIOO,
Beasts of Bourbon,
Fugazi,
Gregory Isaacs,
The Flesh Eaters,
Avey Tare,
Barrington Levy,
Ludus,
Urselle,
Derrick Morgan,
Soulsonic Force,
Echospace,
Japan,
Warsaw,
Todd Terry,
In Retrospect,
Pulsallama,
Todd Rundgren,
H. Thieme,
Hashim,
Black Bananas,
Jeff Lynne,
The Human League,
Bobby Hutcherson,
Sound Behaviour,
The Music Machine,
Funkadelic,
The Young Rascals,
Nick Fraelich,
Newcleus,
Marmalade,
Pharaoh Sanders and the Fire Engines,
Crime,
Supertramp,
Aaron Thompson,
Deadbeat,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.