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 Switzerland and from Lagos.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school Shanghai 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 Kaleidoscope to the electroclash kids.
I played it at the Crocodile.
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 Man Parrish. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every Ken Boothe 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Barrington Levy,
The Grass Roots,
Godley & Creme,
Larry & the Blue Notes,
Soulsonic Force,
Funky Four + One,
Marine Girls,
The Dead C,
Lakeside,
Quantec,
The United States of America,
The Flesh Eaters,
June of 44,
Joe Smooth,
Crash Course in Science,
Captain Beefheart & His Magic Band,
Dennis Brown,
This Heat,
Heaven 17,
Swell Maps,
Art Ensemble Of Chicago,
The Fuzztones,
Davy DMX,
Alton Ellis,
David Axelrod,
The Vogues,
The Dirtbombs,
The New Christs,
John Lydon,
Mandrill,
James Chance & The Contortions,
Erasure,
Jawbox,
Avey Tare,
Grandmaster Flash,
the Slits,
Duran Duran,
Scientists,
Aural Exciters,
Wighnomy Brothers & Robag Wruhme,
Wasted Youth,
Kaleidoscope,
Mantronix,
Echo & the Bunnymen,
Johnny Osbourne,
Avey Tare & Kría Brekkan,
Pylon,
Bauhaus,
Vainqueur,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fire Engines,
Interpol,
Bill Wells,
Kayak,
The Leaves,
Masters at Work,
R.M.O.,
FM Einheit,
The Young Rascals,
Liaisons Dangereuses,
Nick Fraelich,
Gang Gang Dance,
Alice Coltrane, Alice Coltrane, Alice Coltrane, Alice Coltrane.
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.