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 Philippines and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Spokane and Seoul.
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 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 Litter to the techno 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 Velvet Underground. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Outsiders record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
Andrew Ashong & Theo Parrish,
Juan Atkins,
Pharaoh Sanders and the Fire Engines,
Model 500,
Gil Scott-Heron & Brian Jackson,
Parry Music,
EPMD,
Sound Behaviour,
Minor Threat,
the Slits,
Curtis Mayfield,
Ponytail,
Visage,
Underground Resistance,
Ornette Coleman,
Throbbing Gristle,
Arab on Radar,
Heaven 17,
Sällskapet,
Zapp,
Black Sheep,
Barbara Tucker,
the Fania All-Stars,
A Certain Ratio,
The Music Machine,
Yellowson,
Matthew Bourne,
Dawn Penn,
Infiniti,
The Smiths,
Soft Cell,
Marcia Griffiths,
John Lydon,
Camouflage,
Sugar Minott,
The Sonics,
Reuben Wilson,
World's Most,
Angry Samoans,
Scrapy,
Peter Gordon & Love of Life Orchestra,
Captain Beefheart & His Magic Band,
David Axelrod,
Television,
Minny Pops,
Funky Four + One,
Tres Demented,
Dark Day,
The Dave Clark Five,
Black Bananas,
Neil Young,
Pete Rock & C.L. Smooth,
The Angels of Light,
Sex Pistols,
Sun City Girls,
Buzzcocks,
Lee Hazlewood,
The Fire Engines,
The Real Kids,
Sister Nancy,
10cc, 10cc, 10cc, 10cc.
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.