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 Tunisia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Bologna.
I'm losing my edge to the art-school Johannesburg 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 Lou Reed 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 One Last Wish to the punk 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 Selecter. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Juan Atkins 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Eve St. Jones,
The Red Krayola,
Camron Feat. Jay Z And Juelz,
Echo & the Bunnymen,
Dawn Penn,
Harry Pussy,
John Coltrane,
Jerry's Kids,
DNA,
the Human League,
The Alarm Clocks,
Chris & Cosey,
Lightning Bolt,
Tommy Roe,
Boogie Down Productions,
Roy Ayers,
Vainqueur,
The Smoke,
the Bar-Kays,
The Electric Prunes,
Derrick Morgan,
Bluetip,
Johnny Osbourne,
Davy DMX,
The Skatalites,
Amon Düül II,
Ornette Coleman,
Jeff Mills,
Depeche Mode,
Maleditus Sound,
Rites of Spring,
Slave,
Pharaoh Sanders and the Fire Engines,
Frankie Knuckles,
Masters at Work,
Kas Product,
Charles Mingus,
MC5,
Connie Case,
Ultimate Spinach,
Jesper Dahlback,
Radiohead,
Avey Tare's Slasher Flicks,
Aaron Thompson,
Oblivians,
Moby Grape,
Godley & Creme,
June Days,
Pylon,
Scion,
EPMD,
Bootsy Collins,
Barry Ungar,
Lizzy Mercier Descloux,
Lou Reed & John Cale,
X-101,
Lower 48,
Massinfluence,
Public Enemy,
New York Dolls,
Q and Not U,
Matthew Bourne,
Ronnie Foster,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.