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 Mauritania and from London.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Glasgow.
I'm losing my edge to the art-school Mexico City 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 sitar sounds with much patience.
I was there when Michael McDonald 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 Index to the funk kids.
I played it at the Crocodile.
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 Unrelated Segments. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lyres,
Silicon Teens,
Minutemen,
Roy Ayers Ubiquity,
The Remains,
The Cure,
Bang on a Can All-Stars,
Nas,
Public Enemy,
Magma,
Röyhkä ja Rättö ja Lehtisalo,
Brand Nubian,
Eurythmics,
the Soft Cell,
Camberwell Now,
The Dave Clark Five,
Archie Shepp,
Bobby Hutcherson,
Monks,
Suburban Knight,
Absolute Body Control,
Toni Rubio,
Man Parrish,
The Modern Lovers,
Selector Dub Narcotic,
Ronnie Foster,
Ultravox,
The Dead C,
Pete Rock & C.L. Smooth,
Eli Mardock,
Delta 5,
Justin Hinds & The Dominoes,
Au Pairs,
Dark Day,
The Last Poets,
Cecil Taylor,
Interpol,
Visage,
Neil Young & Crazy Horse,
Altered Images,
Michelle Simonal,
The Monks,
Stockholm Monsters,
Circle Jerks,
Jandek,
The Pretty Things,
Zapp,
Henry Cow,
Sexual Harrassment,
Qualms,
The Selecter,
Royal Trux,
Red Lorry Yellow Lorry,
Wire,
10cc,
The United States of America,
Tears for Fears,
The Fuzztones,
Babytalk,
MC5,
Agent Orange,
Avey Tare,
Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz, Heavy D & The Boyz.
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.