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 Costa Rica and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Columbus and New York.
I'm losing my edge to the art-school Manila 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 Lou Reed 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 Terror Squad Feat. Camron to the techno kids.
I played it at the Roxy.
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 Johnny Clarke. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal disco 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 The Moleskins record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Jeru the Damaja,
Zero Boys,
The Golliwogs,
John Lydon,
Jeff Lynne,
PIL,
Ultimate Spinach,
Gregory Isaacs,
Outsiders,
The Gap Band,
DeepChord presents Echospace,
Aural Exciters,
Sun Ra Arkestra,
The Mighty Diamonds,
June of 44,
Tropical Tobacco,
Sexual Harrassment,
Mr. Review,
The Red Krayola,
Eli Mardock,
The Beau Brummels,
Boz Scaggs,
Alton Ellis,
Johnny Clarke,
Vaughan Mason & Crew,
X-Ray Spex,
Kayak,
New Order,
Pantytec,
Juan Atkins,
Skarface,
Traffic Nightmare,
Kool Moe Dee,
X-101,
Idris Muhammad,
Ken Boothe,
Marcia Griffiths,
Reuben Wilson,
Pharaoh Sanders and the Fire Engines,
Jesper Dahlback,
Notorious BIG live in Amsterdam,
Spandau Ballet,
Section 25,
Minnie Riperton,
Stockholm Monsters,
Parry Music,
Sound Behaviour,
Barclay James Harvest,
Bronski Beat,
The Human League,
The Men They Couldn't Hang,
Nirvana,
Blancmange,
The Jesus and Mary Chain,
Rosa Yemen,
Pere Ubu,
MC5,
Tim Buckley,
Soulsonic Force,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.