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 Zimbabwe and from Philadelphia.
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 1972.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
I'm losing my edge to the art-school Seoul 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare sounds with much patience.
I was there when Tom Verlaine 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 Scan 7 to the dance 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 The Doobie Brothers. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Jerry Gold Smith,
Darondo,
Marc Romboy vs. Booka Shade,
Kas Product,
Depeche Mode,
Richard Hell and the Voidoids,
Ludus,
The Alarm Clocks,
Tropical Tobacco,
Wire,
Heaven 17,
Zapp,
Charles Mingus,
Gil Scott-Heron & Brian Jackson,
ABC,
Inner City,
Eyeless In Gaza,
Icehouse,
Bootsy Collins,
Gang of Four,
Animal Collective,
Kango’s Stein Massive,
Ultramagnetic MC's,
Ash Ra Tempel,
Camberwell Now,
Sad Lovers and Giants,
The Names,
Buzzcocks,
Underground Resistance,
Carl Craig,
The Sonics,
Skarface,
Sam Rivers,
Colin Newman,
Kurtis Blow,
Parry Music,
Selector Dub Narcotic,
the Bar-Kays,
Amon Düül,
Albert Ayler,
This Heat,
Mandrill,
Ossler,
Pantytec,
Prince Buster,
Lebanon Hanover,
Alphaville,
The Divine Comedy,
The Leaves,
8 Eyed Spy,
Neil Young & Crazy Horse,
Scott Walker,
Avey Tare,
Amazonics,
DeepChord presents Echospace,
F. McDonald, F. McDonald, F. McDonald, F. McDonald.
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.