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 Kenya and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Edmonton and Lille.
I'm losing my edge to the art-school Mumbai 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 sitar sounds with much patience.
I was there when Tom Verlaine 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 Crispian St. Peters to the grime 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 PIL. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Derrick May 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 '60s cut and another box set from the '80s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
Oppenheimer Analysis,
Second Layer,
Icehouse,
Crispy Ambulance,
The Dead C,
Sly & The Family Stone,
Scientists,
The Neon Judgement,
The Alarm Clocks,
Sarah Menescal,
LL Cool J,
Isaac Hayes,
John Coltrane,
Desert Stars,
Ronnie Foster,
Fort Wilson Riot,
Bootsy Collins,
Lalo Schifrin,
Pete Rock & C.L. Smooth,
Chris & Cosey,
Steve Hackett,
MDC,
Alison Limerick,
Cymande,
Minnie Riperton,
Echo & the Bunnymen,
U.S. Maple,
UT,
The Tremeloes,
Malaria!,
Bluetip,
Kango’s Stein Massive,
The Litter,
a-ha,
Danielle Patucci,
Dave Gahan,
Ohio Players,
Silicon Teens,
Gil Scott-Heron and Jamie xx,
kango's stein massive,
Jacob Miller,
Drive Like Jehu,
Bad Manners,
ABC,
Soft Cell,
Young Marble Giants,
Lou Reed & Metallica,
Aloha Tigers,
The Doobie Brothers,
Lonnie Liston Smith,
Stiv Bators,
The Index,
Cabaret Voltaire,
Big Daddy Kane,
Hasil Adkins,
Wighnomy Brothers & Robag Wruhme,
Max Romeo,
Kevin Saunderson,
Albert Ayler,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.