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 San Marino and from Philadelphia.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school Hong Kong 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 theremin 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 The Busters to the disco kids.
I played it at the Troubador.
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 Deakin. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Bad Manners record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your güiro and bought a 808.
I hear that you and your band have sold your 808 and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Aural Exciters,
H. Thieme,
Lou Reed & Metallica,
Nas,
The Moody Blues,
Godley & Creme,
Jeff Mills,
Ultimate Spinach,
The Star Department,
World's Most,
David McCallum,
U.S. Maple,
T.S.O.L.,
Sarah Menescal,
Jeru the Damaja,
Charles Mingus,
Moss Icon,
The Slits,
Bauhaus,
Donny Hathaway,
Sandy B,
Hot Snakes,
the Germs,
Pylon,
Siouxsie and the Banshees,
A Flock of Seagulls,
The Electric Prunes,
Gabor Szabo,
Dorothy Ashby,
Danielle Patucci,
New York Dolls,
The Sound,
Justin Hinds & The Dominoes,
Carl Craig,
Angels of Light & Akron/Family,
Sad Lovers and Giants,
Janne Schatter,
Ralphi Rosario,
Notorious Big And Bone Thugs,
Rhythim Is Rhythim,
Nick Cave & The Bad Seeds,
Barry Ungar,
Kool G Rap & DJ Polo,
Young Marble Giants,
The Count Five,
New Order,
Magazine,
Peter and Kerry,
Scrapy,
London Community Gospel Choir,
Pere Ubu,
K-Klass,
Roxette,
D'Angelo,
Richard Hell and the Voidoids,
Brand Nubian,
Unwound,
The Doobie Brothers,
Pharoah Sanders,
Easy Going,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.