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 Bahamas and from London.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1970.
I'm losing my edge.
To all the kids in Cairo and Mumbai.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the 808 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 Major Organ And The Adding Machine to the punk kids.
I played it at the 40 Watt.
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 The Dirtbombs. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Fat Boys record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith 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?
Ultra Naté,
The Men They Couldn't Hang,
Faraquet,
Sexual Harrassment,
Albert Ayler,
Cabaret Voltaire,
Nick Cave & The Bad Seeds,
Lou Reed,
Black Flag,
Marmalade,
Bad Manners,
The Neon Judgement,
Symarip,
Glambeats Corp.,
Sam Rivers,
June of 44,
The Standells,
Larry & the Blue Notes,
Crime,
Pharaoh Sanders and the Fire Engines,
Minny Pops,
Deepchord,
Aswad,
Kaleidoscope,
Junior Murvin,
Donald Byrd,
Altered Images,
Aaron Thompson,
The Leaves,
The Move,
Donny Hathaway,
Cameo,
The Golliwogs,
Silicon Teens,
a-ha,
Pantaleimon,
The Royal Family And The Poor,
Cal Tjader,
The Moody Blues,
La Düsseldorf,
The Red Krayola,
Radiohead,
The West Coast Pop Art Experimental Band,
The Five Americans,
This Heat,
Lizzy Mercier Descloux,
Hashim,
The American Breed,
The Victims,
Underground Resistance,
The Toasters,
Inner City,
Yusef Lateef,
Al Stewart,
Fear,
Man Parrish,
The Evens,
Boz Scaggs,
Curtis Mayfield,
Spandau Ballet,
Amon Düül,
Vaughan Mason & Crew,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.