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 Afghanistan and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1961 to 1970.
I'm losing my edge.
To all the kids in Toronto and Bologna.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin 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 Carl Craig to the jazz 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 Sound Behaviour. All the underground hits.
All Hot Snakes tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cramps,
T.S.O.L.,
The Toasters,
Maleditus Sound,
Babytalk,
Oppenheimer Analysis,
Röyhkä ja Rättö ja Lehtisalo,
Rapeman,
Thee Headcoats,
48th St. Collective,
Ornette Coleman,
Urselle,
Con Funk Shun,
Alice Coltrane,
Hardrive,
Jeru the Damaja,
Blossom Toes,
Dr. Dre and Snoop Doggy Dog,
Sandy B,
Flamin' Groovies,
Pantaleimon,
Erykah Badu,
Motorama,
Surgeon,
Technova,
Das Ding,
Juan Atkins,
Fat Boys,
Pussy Galore,
Eddi Front,
The Fugs,
MC5,
the Germs,
The Fire Engines,
Tim Buckley,
Jandek,
Visionaries,LMNO, T- Love & Iriscience,
Electric Light Orchestra,
The Residents,
Grandmaster Flash and the Furious Five,
Michelle Simonal,
Lou Reed & John Cale,
UT,
Jesper Dahlback,
Connie Case,
Marc Almond,
The Searchers,
F. McDonald,
Ossler,
Scion,
Godley & Creme,
Be Bop Deluxe,
Pagans,
London Community Gospel Choir,
Bad Manners,
Pete Rock & C.L. Smooth,
Davy DMX,
David Axelrod,
Average White Band,
David Bowie,
A Certain Ratio,
The American Breed, The American Breed, The American Breed, The American Breed.
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.