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 Ivory Coast and from Sao Paulo.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Milan and Woodstock.
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 808 sounds with much patience.
I was there when Tom Verlaine 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 Eric Copeland to the crunk 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 Inner City. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Circle Jerks 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Sonic Youth record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Rekid,
Lonnie Liston Smith,
In Retrospect,
Eyeless In Gaza,
Rod Modell,
Yaz,
Mary Jane Girls,
The Blackbyrds,
MC5,
The Chocolate Watch Band,
Robert Hood,
Gerry Rafferty,
Scion,
Gichy Dan,
Chrome,
Joe Finger,
Funky Four + One,
Hoover,
Kango’s Stein Massive,
The Red Krayola,
Peter and Kerry,
Peter & Gordon,
10cc,
Liaisons Dangereuses,
Terror Squad Feat. Camron,
Vaughan Mason & Crew,
Fluxion,
Jesper Dahlbäck,
Supertramp,
Traffic Nightmare,
Bizarre Inc.,
Terry Callier,
Boogie Down Productions,
John Lydon,
the Fania All-Stars,
Eurythmics,
Man Parrish,
A Certain Ratio,
Flamin' Groovies,
Das Ding,
Zero Boys,
The Gap Band,
Motorama,
Second Layer,
Unrelated Segments,
T.S.O.L.,
Ultramagnetic MC's,
Albert Ayler,
Pole,
Kaleidoscope,
Black Moon,
Avey Tare,
De La Soul & Jungle Brothers,
Procol Harum,
Scientists,
Joensuu 1685,
The West Coast Pop Art Experimental Band,
The Gladiators,
Röyhkä ja Rättö ja Lehtisalo,
Desert Stars,
Accadde A,
Crime, Crime, Crime, Crime.
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.