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 Bangladesh and from Manchester.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Toronto and Salvador.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the güiro sounds with much patience.
I was there when Nile Rodgers 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 Count Five to the dance kids.
I played it at the 40 Watt.
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 Electric Light Orchestra. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Terrestrial Tones record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Gil Scott-Heron and Jamie xx,
Peter and Kerry,
Youth Brigade,
Boredoms,
Gichy Dan,
Tropical Tobacco,
Soft Cell,
Pharaoh Sanders and the Fire Engines,
CMW,
Richard Hell and the Voidoids,
Fluxion,
Sixth Finger,
Unrelated Segments,
The Buckinghams,
D'Angelo,
The Names,
A Certain Ratio,
The Kinks,
Interpol,
Deakin,
Black Moon,
Glambeats Corp.,
The Birthday Party,
Marcia Griffiths,
Lightning Bolt,
Absolute Body Control,
Major Organ And The Adding Machine,
Brick,
Main Source,
Quando Quango,
Bobby Byrd,
Kool Moe Dee,
ABC,
Chris Corsano,
Judy Mowatt,
MC5,
Smog,
Laurel Aitken,
Wings,
Lindisfarne,
Barbara Tucker,
The Barracudas,
Frankie Knuckles,
Terrestrial Tones,
Piero Umiliani,
Y Pants,
The Sound,
The Blackbyrds,
Todd Rundgren,
Ronan,
The Smiths,
Leonard Cohen,
Shuggie Otis,
Loose Ends,
Rhythm & Sound,
Kerrie Biddell,
Von Mondo,
Andrew Ashong & Theo Parrish,
Eyeless In Gaza,
Avey Tare & Kría Brekkan,
Jawbox,
Glenn Branca,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.