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 Mali and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
I'm losing my edge to the art-school Winnipeg 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Avey Tare's Slasher Flicks to the grunge 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 Count Five. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
KRS-One,
Roy Ayers Ubiquity,
Johnny Osbourne,
Grandmaster Flash and the Furious Five,
Slave,
Moby Grape,
Theoretical Girls,
Electric Light Orchestra,
Absolute Body Control,
Jawbox,
CMW,
The Golliwogs,
Godley & Creme,
These Immortal Souls,
Warsaw,
Sad Lovers and Giants,
Al Stewart,
Lebanon Hanover,
Schoolly D,
Lungfish,
Kevin Saunderson,
Soft Machine,
the Slits,
Hashim,
Rites of Spring,
Gil Scott-Heron & Brian Jackson,
James White and The Blacks,
Pantaleimon,
Ronan,
John Lydon,
La Düsseldorf,
The Birthday Party,
Country Joe & The Fish,
Wasted Youth,
The Happenings,
The Sisters of Mercy,
Pole,
The Index,
Deutsch Amerikanische Freundschaft,
Crash Course in Science,
The Wake,
Unrelated Segments,
The Invisible,
The Music Machine,
the Normal,
Brand Nubian,
Richard Hell and the Voidoids,
Deakin,
Reuben Wilson,
Alton Ellis,
Visage,
JFA,
Scott Walker,
Sticky Fingaz feat. Raekwon,
Rhythim Is Rhythim,
Rufus Thomas,
Von Mondo,
Yazoo,
Roxette,
Dennis Brown,
Marmalade,
Matthew Halsall,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.