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 Andorra and from Manila.
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 1971.
I'm losing my edge.
To all the kids in Calgary and Philadelphia.
I'm losing my edge to the art-school Columbus 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 James Chance & The Contortions to the rock kids.
I played it at the Hacienda.
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 Massinfluence. All the underground hits.
All Lou Reed tracks. I heard you have a vinyl of every Jerry's Kids record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Detroit Cobras,
Young Marble Giants,
Bang On A Can,
Nick Fraelich,
Major Organ And The Adding Machine,
Black Pus,
Franke,
The Five Americans,
New Order,
Malaria!,
Japan,
Parry Music,
The Index,
Negative Approach,
Henry Cow,
FM Einheit,
Tomorrow,
Spandau Ballet,
Vaughan Mason & Crew,
The Smoke,
the Human League,
Khruangbin,
The Divine Comedy,
Gong,
Nas,
The Standells,
The Durutti Column,
Little Man,
The Invisible,
The Mojo Men,
Teenage Jesus and the Jerks,
The Associates,
Arthur Verocai,
Rowland S Howard / Lydia Lunch,
The Litter,
Royal Trux,
Wally Richardson,
Sällskapet,
Alice Coltrane,
Rod Modell,
The Slits,
Barrington Levy,
Prince Buster,
The Kinks,
Gang Green,
Scrapy,
Röyhkä ja Rättö ja Lehtisalo,
Carl Craig,
Crash Course in Science,
Rakim,
Wasted Youth,
Josef K,
The Velvet Underground,
Intrusion,
Flamin' Groovies,
Aural Exciters,
Metal Thangz,
The Victims,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.