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 Syria and from London.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1971.
I'm losing my edge.
To all the kids in New York and Madrid.
I'm losing my edge to the art-school Glasgow 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 harpsichord 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 Siglo XX to the punk kids.
I played it at Trash.
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 Bootsy's Rubber Band. All the underground hits.
All Von Mondo tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Khruangbin,
Bronski Beat,
Bad Manners,
Ituana,
Surgeon,
Barclay James Harvest,
Black Bananas,
Funkadelic,
Sixth Finger,
Kool Moe Dee,
A Certain Ratio,
Don Cherry,
Interpol,
Brand Nubian,
Jandek,
MC5,
The Electric Prunes,
The Human League,
The Gun Club,
Alton Ellis,
Loose Ends,
Wally Richardson,
Robert Hood,
Fort Wilson Riot,
The Skatalites,
Gerry Rafferty,
the Germs,
The Misunderstood,
Wolf Eyes,
Louis and Bebe Barron,
Angels of Light & Akron/Family,
Sonic Youth,
EPMD,
The Pretty Things,
Letta Mbulu,
Masters at Work,
Blossom Toes,
Boz Scaggs,
Gian Franco Pienzio,
Japan,
Sunsets and Hearts,
The Slackers,
Second Layer,
Rowland S Howard / Lydia Lunch,
The Index,
Tim Buckley,
The Remains,
Boogie Down Productions,
The Gap Band,
Glenn Branca,
Essential Logic,
Tres Demented,
The Invisible,
Bobby Hutcherson,
Wasted Youth,
The Fire Engines,
Laurel Aitken,
Gregory Isaacs,
Eric Dolphy,
Deepchord,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.