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 Ethiopia and from Tokyo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Lyon and Paris.
I'm losing my edge to the art-school Stockholm 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 L. Decosne 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 The Flesh Eaters. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Patti Smith 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Sad Lovers and Giants,
Lafayette Afro Rock Band,
Hardrive,
Terrestrial Tones,
Massinfluence,
Barry Ungar,
Peter and Kerry,
Ohio Players,
Aural Exciters,
The Names,
Sly & The Family Stone,
Derrick May,
Matthew Halsall,
Saccharine Trust,
Goldenarms,
Major Organ And The Adding Machine,
Supertramp,
Gregory Isaacs,
Chrome,
John Lydon,
Pantaleimon,
Scott Walker,
Animal Collective,
Cabaret Voltaire,
Bootsy Collins,
The Litter,
Jacques Brel,
The Victims,
Faraquet,
Beasts of Bourbon,
Kaleidoscope,
Joy Division,
Agent Orange,
Donny Hathaway,
The Grass Roots,
The Cowsills,
R.M.O.,
Buzzcocks,
Fear,
Zapp,
Rufus Thomas,
Louis and Bebe Barron,
Rowland S Howard / Lydia Lunch,
Joe Smooth,
Ultravox,
The Seeds,
Manfred Mann's Earth Band,
Skarface,
The United States of America,
Mr. Review,
Peter Gordon & Love of Life Orchestra,
Lebanon Hanover,
Rod Modell,
The Dead C,
World's Most,
Todd Terry,
The New Christs,
Neu!,
The Leaves,
X-102,
Yellowson,
Maurizio,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.