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 Poland and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Tehran 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 güiro sounds with much patience.
I was there when Captain Beefheart 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 Crime to the rock 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 Q and Not U. All the underground hits.
All Vainqueur tracks. I heard you have a vinyl of every Livin' Joy 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 '90s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Frankie Knuckles,
Eric Dolphy,
Matthew Bourne,
The Dave Clark Five,
Oppenheimer Analysis,
Jeru the Damaja,
The Black Dice,
Yaz,
Negative Approach,
48th St. Collective,
The Saints,
Mad Mike,
Danielle Patucci,
Stiv Bators,
Brand Nubian,
Wasted Youth,
B.T. Express,
Marc Almond,
Joe Smooth,
Avey Tare,
Model 500,
Lee Hazlewood,
The Moody Blues,
The Barracudas,
Terrestrial Tones,
The Beau Brummels,
Average White Band,
Sarah Menescal,
Pharoah Sanders,
Jesper Dahlback,
Soul II Soul,
Nick Fraelich,
Wally Richardson,
Urselle,
Aaron Thompson,
Graham Central Station,
Glenn Branca,
Gregory Isaacs,
Pantytec,
The West Coast Pop Art Experimental Band,
Joe Finger,
Judy Mowatt,
ABBA,
Das Ding,
Deepchord,
Reagan Youth,
Lou Reed,
Rufus Thomas,
Metal Thangz,
Bang on a Can All-Stars,
Sixth Finger,
Big Daddy Kane,
a-ha,
Funkadelic,
La Düsseldorf,
Qualms,
The Grass Roots,
K-Klass,
Arthur Verocai,
Agitation Free,
Echo & the Bunnymen,
Neu!,
Blancmange,
Bad Manners, Bad Manners, Bad Manners, Bad Manners.
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.