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 Cape Verde and from Milan.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Sao Paulo.
I'm losing my edge to the art-school Philadelphia 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 rhodes 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 U.S. Maple to the techno kids.
I played it at the 40 Watt.
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 The Move. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Section 25 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Deadbeat,
Suburban Knight,
Sight & Sound,
The American Breed,
The Selecter,
These Immortal Souls,
Flipper,
the Slits,
L. Decosne,
Ronnie Foster,
Andrew Ashong & Theo Parrish,
Interpol,
Drexciya,
Khruangbin,
Minnie Riperton,
Kauko Röyhkä ja Narttu,
Tim Buckley,
The Chocolate Watch Band,
Leonard Cohen,
Tubeway Army,
The United States of America,
The Searchers,
Franke,
Banda Bassotti,
Bang On A Can,
The Kinks,
Radio Birdman,
Angels of Light & Akron/Family,
Scratch Acid,
Erykah Badu,
Ralphi Rosario,
Roxette,
Scrapy,
Juan Atkins,
Dave Gahan,
UT,
Röyhkä ja Rättö ja Lehtisalo,
Roy Ayers,
The Last Poets,
cv313,
Gastr Del Sol,
Robert Hood,
Stetsasonic,
Hot Snakes,
Quantec,
Goldenarms,
Steve Hackett,
The Blues Magoos,
8 Eyed Spy,
Mary Jane Girls,
Lakeside,
Moss Icon,
Bobby Hutcherson,
The Move,
Circle Jerks,
Half Japanese,
Urselle,
Todd Terry,
Duran Duran,
A Certain Ratio,
The Dirtbombs,
Jesper Dahlback,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.