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 Switzerland and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Mumbai.
I'm losing my edge to the art-school Tokyo 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 at the first Suicide practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Hardrive to the grime kids.
I played it at the Crocodile.
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 Matthew Halsall. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Soulsonic Force 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
The Stooges,
Soft Cell,
The Saints,
Wings,
Young Marble Giants,
Das Ding,
Kas Product,
Unwound,
Schoolly D,
Make Up,
Pantytec,
Kauko Röyhkä ja Narttu,
The Associates,
John Cale,
The Monochrome Set,
Terror Squad Feat. Camron,
The Offenders,
Jimmy McGriff,
The Leaves,
The Invisible,
Byron Stingily,
Swans,
This Heat,
Soft Machine,
Nation of Ulysses,
Absolute Body Control,
Albert Ayler,
Stockholm Monsters,
Wasted Youth,
Shuggie Otis,
Steve Hackett,
Buzzcocks,
Lightning Bolt,
Reuben Wilson,
The Sonics,
The Jesus and Mary Chain,
Mandrill,
Alphaville,
Thee Headcoats,
Harmonia,
Mary Jane Girls,
8 Eyed Spy,
Pulsallama,
Deepchord,
OOIOO,
The Moleskins,
Brick,
Mo-Dettes,
The West Coast Pop Art Experimental Band,
Harpers Bizarre,
Fat Boys,
Tomorrow,
Visage,
The Skatalites,
Super Lover Cee & Casanova Rud,
Grey Daturas,
Severed Heads,
The Happenings,
Peter Gordon & Love of Life Orchestra,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.