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 Kenya and from Woodstock.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Stockholm.
I'm losing my edge to the art-school Spokane 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 sitar 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 Moss Icon to the electroclash 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 John Cale. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every Marc Almond 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Durutti Column,
Amon Düül,
Red Lorry Yellow Lorry,
The Index,
Susan Cadogan,
Procol Harum,
Bronski Beat,
Marvin Gaye,
Harmonia,
Kerri Chandler,
Lebanon Hanover,
Rowland S Howard / Lydia Lunch,
Visage,
the Swans,
The Dirtbombs,
Spandau Ballet,
Con Funk Shun,
the Sonics,
Lindisfarne,
the Association,
Stockholm Monsters,
Gabor Szabo,
Lou Reed & John Cale,
Lafayette Afro Rock Band,
Camberwell Now,
Fugazi,
Arab on Radar,
Supertramp,
Desert Stars,
Tears for Fears,
Carl Craig,
Todd Rundgren,
Wasted Youth,
Larry & the Blue Notes,
Major Organ And The Adding Machine,
Johnny Clarke,
Infiniti,
Scion,
Dual Sessions,
Underground Resistance,
Don Cherry,
Joe Smooth,
The Star Department,
Shoche,
Fort Wilson Riot,
Avey Tare,
Duran Duran,
Angry Samoans,
Piero Umiliani,
The Tremeloes,
The Zeros,
Radiopuhelimet,
Soft Cell,
Archie Shepp,
Index,
Fear,
Captain Beefheart & His Magic Band,
Ralphi Rosario,
Gang Starr,
Moebius,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.