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 Germany and from Cairo.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1973.
I'm losing my edge.
To all the kids in Houston and Sao Paulo.
I'm losing my edge to the art-school Columbus 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 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 Cabaret Voltaire to the funk kids.
I played it at the Astoria.
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 This Heat. All the underground hits.
All The Pop Group tracks. I heard you have a vinyl of every Porter Ricks 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Soft Machine record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Can,
FM Einheit,
Mary Jane Girls,
John Lydon,
Pylon,
Notorious Big And Bone Thugs,
John Holt,
Talk Talk,
Rod Modell,
Hot Snakes,
Gregory Isaacs,
Rekid,
The Pretty Things,
Rhythm & Sound,
Jesper Dahlback,
Orchestral Manoeuvres in the Dark,
John Foxx,
Radiohead,
Boredoms,
Althea and Donna,
Thee Headcoats,
Infiniti,
Chris Corsano,
B.T. Express,
Gang of Four,
Heavy D & The Boyz,
Red Lorry Yellow Lorry,
Heaven 17,
Johnny Osbourne,
Public Enemy,
Silicon Teens,
Gang Starr,
Jawbox,
Suburban Knight,
Soul II Soul,
Michelle Simonal,
The Fuzztones,
Japan,
Blossom Toes,
Siglo XX,
Spoonie Gee,
Gerry Rafferty,
The Skatalites,
Ituana,
Loose Ends,
The Evens,
the Bar-Kays,
Fad Gadget,
Sällskapet,
Eyeless In Gaza,
the Association,
Marc Romboy vs. Booka Shade,
The New Christs,
Circle Jerks,
The Real Kids,
The Invisible,
Nik Kershaw,
Amon Düül,
Robert Hood,
Donald Byrd,
Soulsonic Force,
cv313,
Nils Olav,
Altered Images, Altered Images, Altered Images, Altered Images.
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.