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 Lebanon and from Tokyo.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Beijing and Cairo.
I'm losing my edge to the art-school Glasgow 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 marimba 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 The United States of America to the punk 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 The Chocolate Watch Band. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every The American Breed 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 '70s cut and another box set from the '80s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Busters,
L. Decosne,
Ten City,
Frankie Knuckles,
cv313,
Youth Brigade,
Nico,
Excepter,
The Smiths,
Scientists,
Kas Product,
Mo-Dettes,
Maleditus Sound,
Radiohead,
The West Coast Pop Art Experimental Band,
Tim Buckley,
Gang of Four,
James White and The Blacks,
Laurel Aitken,
Monks,
LL Cool J,
Marine Girls,
Magazine,
Q and Not U,
Flash Fearless,
Isaac Hayes,
The Monochrome Set,
Sly & The Family Stone,
Throbbing Gristle,
Althea and Donna,
June Days,
Camron Feat. Memphis Bleek And Beenie Seigel,
Steve Hackett,
Jerry's Kids,
This Heat,
Man Parrish,
Babytalk,
Moss Icon,
Circle Jerks,
DNA,
Motorama,
Donald Byrd,
Pete Rock & C.L. Smooth,
Echospace,
Quantec,
Visionaries,LMNO, T- Love & Iriscience,
Chris & Cosey,
Tears for Fears,
Soft Machine,
AZ,
Mars,
Bootsy's Rubber Band,
Porter Ricks,
Warren Ellis,
Lebanon Hanover,
Oblivians,
David McCallum,
The Red Krayola,
Ultra Naté,
Dead Boys,
Lou Reed,
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.