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 New Zealand and from Salvador.
But I was there.
I was there in 1973.
I was there at the first Television 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 1962 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Hong Kong 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 Little Man to the funk 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 Delta 5. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Bizarre Inc. record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
China Crisis,
Freddie Wadling,
Robert Hood,
MC5,
Japan,
Pierre Henry,
Pulsallama,
Sad Lovers and Giants,
Gian Franco Pienzio,
Y Pants,
John Lydon,
Procol Harum,
The Doors,
Blossom Toes,
The Count Five,
Dorothy Ashby,
Panda Bear,
48th St. Collective,
Kool Moe Dee,
Parry Music,
Curtis Mayfield,
Siouxsie and the Banshees,
Brothers Johnson,
Pere Ubu,
The Buckinghams,
Rowland S Howard / Lydia Lunch,
the Slits,
Echo & the Bunnymen,
Kaleidoscope,
Jeff Mills,
Crispy Ambulance,
Wire,
Spoonie Gee,
Stereo Dub,
A Certain Ratio,
Barrington Levy,
Gang Starr,
Scion,
Lee Hazlewood,
Lalann,
Jacob Miller,
The Red Krayola,
Angels of Light & Akron/Family,
Man Parrish,
The Pretty Things,
Anthony Braxton,
The Evens,
Notorious BIG live in Amsterdam,
Marine Girls,
Chrome,
LL Cool J,
The Cure,
Bobby Byrd,
Albert Ayler,
Lindisfarne,
Whodini,
Mandrill,
Groovy Waters,
Harmonia,
The Black Dice,
Godley & Creme, Godley & Creme, Godley & Creme, Godley & Creme.
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.