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 Samoa and from Hong Kong.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Seoul and Edmonton.
I'm losing my edge to the art-school Edmonton 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the guitar sounds with much patience.
I was there when David Bowie 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 Public Enemy to the rap kids.
I played it at Trash.
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 Black Pus. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Super Lover Cee & Casanova Rud record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Japan,
Tommy Roe,
Hardrive,
Sight & Sound,
Pylon,
Alison Limerick,
Strawberry Alarm Clock,
Howard Jones,
Goldenarms,
Eurythmics,
Jawbox,
The Kinks,
Terry Callier,
Blancmange,
the Fania All-Stars,
London Community Gospel Choir,
Cal Tjader,
Arthur Verocai,
The Shadows of Knight,
Negative Approach,
DJ Sneak,
Ronan,
John Foxx,
Pagans,
Maurizio,
Fad Gadget,
The Moody Blues,
PIL,
Jeru the Damaja,
ABBA,
Scratch Acid,
The United States of America,
Steve Hackett,
Von Mondo,
Bizarre Inc.,
Kas Product,
New Age Steppers,
Dr. Dre and Snoop Doggy Dog,
8 Eyed Spy,
A Flock of Seagulls,
Ice-T,
Derrick Morgan,
Roy Ayers,
Juan Atkins,
Lonnie Liston Smith,
Sun City Girls,
Delon & Dalcan,
The Victims,
Whodini,
Blake Baxter,
The Fugs,
the Slits,
Unwound,
Aaron Thompson,
Arab on Radar,
Soft Machine,
The Happenings,
Röyhkä ja Rättö ja Lehtisalo,
Gil Scott-Heron and Jamie xx,
Pharaoh Sanders and the Fire Engines,
Ultra Naté,
Make Up,
Oppenheimer Analysis,
Mandrill, Mandrill, Mandrill, Mandrill.
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.