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 France and from Lille.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1975.
I'm losing my edge.
To all the kids in Lagos and Hong Kong.
I'm losing my edge to the art-school Tehran 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 linndrum 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 Barrington Levy to the punk kids.
I played it at the Spitz.
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 Ornette Coleman. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every The Techniques 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 '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Cabaret Voltaire,
Magazine,
Echo & the Bunnymen,
Faust,
The Detroit Cobras,
Alison Limerick,
The Litter,
Gang Gang Dance,
The Cramps,
48th St. Collective,
Essential Logic,
Sarah Menescal,
Gichy Dan,
Ten City,
cv313,
Bad Manners,
Ossler,
Motorama,
Gil Scott Heron,
Steve Hackett,
The Dead C,
The Divine Comedy,
Can,
The Selecter,
Camouflage,
Hasil Adkins,
Arthur Verocai,
Monks,
Gang Starr,
Grandmaster Flash and the Furious Five,
Fort Wilson Riot,
Eric Copeland,
The J.B.'s,
Blake Baxter,
Sixth Finger,
Deakin,
X-102,
Davy DMX,
Arcadia,
Marmalade,
Rhythm & Sound,
Skaos,
Qualms,
Dennis Brown,
Soft Cell,
Idris Muhammad,
Mr. Review,
Blossom Toes,
Aloha Tigers,
Terry Callier,
Danielle Patucci,
Mo-Dettes,
Electric Prunes,
Kerrie Biddell,
The Velvet Underground,
La Düsseldorf,
Iggy Pop,
John Holt,
The Neon Judgement,
Infiniti,
Patti Smith,
Gil Scott-Heron and Jamie xx,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.