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 Ethiopia and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 Manchester and Delhi.
I'm losing my edge to the art-school Salvador 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Sly & The Family Stone to the techno kids.
I played it at the Roxy.
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 Flamin' Groovies. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sister Nancy,
Stereo Dub,
Sad Lovers and Giants,
Alton Ellis,
Yusef Lateef,
the Association,
Nick Cave & The Bad Seeds,
Popol Vuh,
The Count Five,
Vladislav Delay,
Lizzy Mercier Descloux,
B.T. Express,
Japan,
Moss Icon,
The Litter,
Nico,
Echo & the Bunnymen,
Supertramp,
Gerry Rafferty,
Brass Construction,
The Gap Band,
The Last Poets,
Major Organ And The Adding Machine,
Erykah Badu,
Moby Grape,
Y Pants,
PIL,
Procol Harum,
John Cale,
Public Enemy,
The Walker Brothers,
Justin Hinds & The Dominoes,
Arcadia,
Make Up,
UT,
Fugazi,
One Last Wish,
Boredoms,
Joe Smooth,
Warren Ellis,
Letta Mbulu,
Black Moon,
Bootsy's Rubber Band,
The Saints,
The Smiths,
Avey Tare & Kría Brekkan,
Television,
Glenn Branca,
Gang Gang Dance,
Royal Trux,
Todd Rundgren,
The Index,
Soul II Soul,
Pantytec,
Stockholm Monsters,
Steve Hackett,
Surgeon,
Bluetip,
The Royal Family And The Poor,
Altered Images,
Magma,
New York Dolls,
Lucky Dragons,
Von Mondo,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.