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 France and from Mexico City.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Accra and Beijing.
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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the mellotron 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 Lee Hazlewood to the grunge kids.
I played it at Cafe Wha.
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 Lakeside. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal punk 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 sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your oboe and bought a sitar.
I hear that you and your band have sold your sitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Rhythm & Sound,
Skriet,
Mark Hollis,
Stiv Bators,
Warsaw,
Sight & Sound,
Parry Music,
Notorious Big And Bone Thugs,
Bad Manners,
8 Eyed Spy,
cv313,
Juan Atkins,
Masters at Work,
One Last Wish,
Blancmange,
UT,
Slave,
The Smiths,
Pierre Henry,
Eli Mardock,
Joey Negro,
Idris Muhammad,
Bootsy's Rubber Band,
Jeff Mills,
Barry Ungar,
The Standells,
Sun Ra,
Model 500,
Absolute Body Control,
Depeche Mode,
The Fortunes,
The Sonics,
John Cale,
Quadrant,
The J.B.'s,
Gary Puckett & The Union Gap,
Marshall Jefferson,
Darondo,
Nirvana,
Jesper Dahlbäck,
Radio Birdman,
Soul Sonic Force,
Saccharine Trust,
Piero Umiliani,
The Peanut Butter Conspiracy,
Deakin,
Duran Duran,
Cabaret Voltaire,
The Cramps,
The Mojo Men,
Flamin' Groovies,
Zapp,
Minor Threat,
Iggy Pop,
Mission of Burma,
Josef K,
Hoover,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.