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 Vietnam and from Lagos.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Seoul 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 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Boogie Down Productions 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 Quando Quango. All the underground hits.
All X-101 tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
Amon Düül,
Sun Ra Arkestra,
The Skatalites,
FM Einheit,
Eric B and Rakim,
John Coltrane,
Delta 5,
Gabor Szabo,
Roy Ayers Ubiquity,
David Axelrod,
Jerry's Kids,
Grauzone,
The Pop Group,
Suicide,
Royal Trux,
Mandrill,
Hoover,
Gang Starr,
Kool G Rap & DJ Polo,
Robert Wyatt,
The Red Krayola,
Rufus Thomas,
Bang On A Can,
The Cure,
Dead Boys,
Sam Rivers,
The Blues Magoos,
Excepter,
China Crisis,
Marcia Griffiths,
The Slits,
Stockholm Monsters,
KRS-One,
Unwound,
Fela Kuti,
Supertramp,
Isaac Hayes,
Model 500,
The Gories,
Toni Rubio,
Marvin Gaye,
Joy Division,
The Moody Blues,
Agitation Free,
Throbbing Gristle,
the Fania All-Stars,
Echospace,
London Community Gospel Choir,
Bobby Byrd,
Urselle,
Main Source,
Yellowson,
Kauko Röyhkä ja Narttu,
Kaleidoscope,
Archie Shepp,
Unrelated Segments,
Gichy Dan,
Brick,
EPMD,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.