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 Latvia and from Johannesburg.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Mumbai 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 Michael McDonald 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 Easy Going to the electroclash 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 Jesus and Mary Chain. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Nico record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Sandy B,
Main Source,
Steve Hackett,
Franke,
Gang of Four,
Strawberry Alarm Clock,
Orchestral Manoeuvres in the Dark,
Scott Walker + Sunn O))),
Jerry Gold Smith,
T. Rex,
Jerry's Kids,
Arcadia,
Kango’s Stein Massive,
Johnny Osbourne,
U.S. Maple,
Oblivians,
The Standells,
Blake Baxter,
Charles Mingus,
The Associates,
Altered Images,
Sex Pistols,
Liaisons Dangereuses,
Pylon,
Althea and Donna,
Godley & Creme,
Man Eating Sloth,
The Golliwogs,
Japan,
Graham Central Station,
Albert Ayler,
The Cramps,
Flamin' Groovies,
Alice Coltrane,
Barry Ungar,
Kevin Saunderson,
The Sound,
Technova,
Gastr Del Sol,
Aural Exciters,
Q and Not U,
Bronski Beat,
Television Personalities,
Roy Ayers Ubiquity,
Black Sheep,
Josef K,
Thinking Fellers Union Local 282,
Aaron Thompson,
The Blackbyrds,
Suburban Knight,
Section 25,
Lou Christie,
Black Moon,
DJ Sneak,
Von Mondo,
Lucky Dragons,
Kool Moe Dee,
Country Joe & The Fish,
Whodini,
Saccharine Trust,
Inner City,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.