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 Tunisia and from Portland.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
I'm losing my edge to the art-school Sao Paulo 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the guitar sounds with much patience.
I was there when Robert Palmer 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 ABBA to the crunk kids.
I played it at CBGB's.
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 West Coast Pop Art Experimental Band. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions 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?
Pharaoh Sanders and the Fire Engines,
Faraquet,
the Slits,
Gang Green,
Easy Going,
Radiopuhelimet,
Dawn Penn,
Funky Four + One,
Marvin Gaye,
De La Soul & Jungle Brothers,
Freddie Wadling,
Laurel Aitken,
The Mojo Men,
Cabaret Voltaire,
Malaria!,
Monolake,
Thompson Twins,
Suburban Knight,
Gichy Dan,
Lee Hazlewood,
Skaos,
Albert Ayler,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Donald Byrd,
the Fania All-Stars,
The Victims,
The American Breed,
The Red Krayola,
Jandek,
Soft Machine,
The Count Five,
The Slackers,
Bobby Sherman,
Grey Daturas,
Sexual Harrassment,
Eric Dolphy,
The Jesus and Mary Chain,
The Busters,
Masters at Work,
Mantronix,
Letta Mbulu,
Charles Mingus,
Sister Nancy,
Kurtis Blow,
Amazonics,
Jimmy McGriff,
The Sonics,
Minnie Riperton,
Camron Feat. Memphis Bleek And Beenie Seigel,
Don Cherry,
Rowland S Howard / Lydia Lunch,
Joe Finger,
Steve Hackett,
the Normal,
Dave Gahan,
The Mighty Diamonds,
Qualms,
Flash Fearless,
A Certain Ratio,
Soul Sonic Force,
CMW,
Warsaw,
Buzzcocks,
Girls At Our Best!, Girls At Our Best!, Girls At Our Best!, Girls At Our Best!.
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.