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 Fiji and from Delhi.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Calgary.
I'm losing my edge to the art-school Manchester 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 Holger Czukay 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 The Doors to the dance 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 The Alarm Clocks. All the underground hits.
All The Stooges tracks. I heard you have a vinyl of every Charles Mingus 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Stiv Bators,
EPMD,
The Neon Judgement,
Warsaw,
The Dirtbombs,
Theoretical Girls,
Erykah Badu,
Index,
Deepchord,
Khruangbin,
The Zeros,
Mo-Dettes,
Eyeless In Gaza,
Beasts of Bourbon,
Yaz,
Gil Scott-Heron & Brian Jackson,
The Offenders,
Basic Channel,
John Lydon,
Q65,
Shuggie Otis,
Michelle Simonal,
The Gap Band,
A Certain Ratio,
Ponytail,
Smog,
Marvin Gaye,
Siouxsie and the Banshees,
Lou Reed & Metallica,
Byron Stingily,
Sixth Finger,
Nas,
Country Joe & The Fish,
The Modern Lovers,
Royal Trux,
Sonic Youth,
Moebius,
Scion,
Skarface,
Terrestrial Tones,
Bizarre Inc.,
Arthur Verocai,
Funkadelic,
Crash Course in Science,
Agent Orange,
Maurizio,
Procol Harum,
Nirvana,
June of 44,
Skaos,
Public Image Ltd.,
Tommy Roe,
the Human League,
Dorothy Ashby,
Ossler,
Country Teasers,
Nick Fraelich,
Bush Tetras,
Aswad,
The Walker Brothers,
Essential Logic,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.