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 Luxembourg and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Manila and Delhi.
I'm losing my edge to the art-school Philadelphia 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Pulsallama to the grunge 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 Magazine. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every Godley & Creme record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Amon Düül,
Barry Ungar,
John Holt,
Mark Hollis,
Von Mondo,
Animal Collective,
Steve Hackett,
John Lydon,
James Chance & The Contortions,
Girls At Our Best!,
Guru Guru,
The Barracudas,
Mantronix,
Arcadia,
Lou Reed,
Bronski Beat,
Slick Rick,
Moss Icon,
The Raincoats,
Fort Wilson Riot,
John Foxx,
Organ,
Carl Craig,
Matthew Halsall,
It's A Beautiful Day,
Strawberry Alarm Clock,
Barrington Levy,
Minutemen,
Dave Gahan,
Jesper Dahlbäck,
Connie Case,
Section 25,
T.S.O.L.,
Second Layer,
The Leaves,
The Victims,
Chris & Cosey,
New Age Steppers,
Bobby Womack,
Gichy Dan,
X-Ray Spex,
Idris Muhammad,
Lebanon Hanover,
CMW,
The Fuzztones,
Liaisons Dangereuses,
Monolake,
Depeche Mode,
Throbbing Gristle,
Albert Ayler,
Aswad,
Maurizio,
Cal Tjader,
Scott Walker + Sunn O))),
The Fire Engines,
Slave,
Faust,
The Men They Couldn't Hang,
Junior Murvin,
Kevin Saunderson,
the Sonics,
Rakim, Rakim, Rakim, Rakim.
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.