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 Ghana and from Houston.
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 1978.
I'm losing my edge.
To all the kids in Winnipeg and Glasgow.
I'm losing my edge to the art-school Copenhagen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Malaria! to the crunk 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 Tears for Fears. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Easy Going 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Cluster,
The Offenders,
The Move,
The Techniques,
Warsaw,
Echo & the Bunnymen,
The Peanut Butter Conspiracy,
Stiv Bators,
Stetsasonic,
Neil Young & Crazy Horse,
Sly & The Family Stone,
UT,
Kango’s Stein Massive,
The Human League,
Camron Feat. Memphis Bleek And Beenie Seigel,
Mary Jane Girls,
CMW,
Jesper Dahlbäck,
Main Source,
Amon Düül,
The Misunderstood,
Crash Course in Science,
Cameo,
The Doors,
Technova,
Larry & the Blue Notes,
Chris Corsano,
Kas Product,
Flash Fearless,
Bang on a Can All-Stars,
Pere Ubu,
The Pop Group,
Strawberry Alarm Clock,
John Coltrane,
Sexual Harrassment,
Delta 5,
Funkadelic,
Lalann,
Franke,
Zero Boys,
The Victims,
The Mighty Diamonds,
John Cale,
Echospace,
Adolescents,
Rowland S Howard / Lydia Lunch,
Pagans,
Metal Thangz,
Inner City,
DeepChord presents Echospace,
Brass Construction,
Trumans Water,
Ralphi Rosario,
Gabor Szabo,
Silicon Teens,
A Certain Ratio,
The Searchers,
X-102,
Excepter,
Fat Boys,
Joey Negro,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.