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 Armenia and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Salvador 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 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 Schoolly D to the electroclash 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 Banda Bassotti. All the underground hits.
All Rahsaan Roland Kirk tracks. I heard you have a vinyl of every Eric Dolphy record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your guitar and bought an organ.
I hear that you and your band have sold your organ and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Deakin,
The Victims,
Soul II Soul,
Tim Buckley,
The Chocolate Watch Band,
Rapeman,
Sam Rivers,
Marcia Griffiths,
Carl Craig,
Jerry Gold Smith,
Erasure,
Jawbox,
Jacob Miller,
Marine Girls,
The Real Kids,
Amazonics,
Babytalk,
Delon & Dalcan,
Minutemen,
The Skatalites,
The Electric Prunes,
Graham Central Station,
Joe Smooth,
Unrelated Segments,
The Mojo Men,
Spandau Ballet,
Warren Ellis,
Masters at Work,
LL Cool J,
Gong,
Soft Cell,
X-Ray Spex,
New York Dolls,
the Germs,
The Durutti Column,
Scion,
Fear,
John Lydon,
The Offenders,
Thompson Twins,
H. Thieme,
L. Decosne,
The Music Machine,
Mr. Review,
K-Klass,
Eric Copeland,
U.S. Maple,
The Blues Magoos,
Khruangbin,
Easy Going,
The New Christs,
Echo & the Bunnymen,
Little Man,
China Crisis,
The Moleskins,
Model 500,
Thinking Fellers Union Local 282,
DJ Style,
Robert Hood,
Absolute Body Control,
Half Japanese,
Shuggie Otis, Shuggie Otis, Shuggie Otis, Shuggie Otis.
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.