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 Rwanda and from Stockholm.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Jakarta.
I'm losing my edge to the art-school Copenhagen 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 mellotron 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 Yaz to the rock kids.
I played it at the Troubador.
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 Electric Light Orchestra. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Soft Machine record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Black Flag,
A Certain Ratio,
Ultramagnetic MC's,
Massinfluence,
Sparks,
Schoolly D,
Quadrant,
Pussy Galore,
Sly & The Family Stone,
Niagra,
Andrew Hill,
Delta 5,
The Motions,
Eric Dolphy,
Camron Feat. Memphis Bleek And Beenie Seigel,
Clear Light,
Lou Reed & Metallica,
Scott Walker + Sunn O))),
James Chance & The Contortions,
John Foxx,
Y Pants,
Pharoah Sanders,
Circle Jerks,
Theoretical Girls,
Tears for Fears,
Ash Ra Tempel,
L. Decosne,
Flipper,
Underground Resistance,
Dark Day,
Section 25,
Beasts of Bourbon,
Jerry's Kids,
Interpol,
Bang On A Can,
The Standells,
Kas Product,
Echospace,
Jeff Mills,
Adolescents,
Pole,
Boz Scaggs,
Ice-T,
KRS-One,
Spandau Ballet,
Lou Reed & John Cale,
Tomorrow,
Siglo XX,
Procol Harum,
Ituana,
Reagan Youth,
EPMD,
Steve Hackett,
Tres Demented,
The Fire Engines,
New Age Steppers,
Altered Images,
Kango’s Stein Massive,
Barry Ungar, Barry Ungar, Barry Ungar, Barry Ungar.
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.