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 United States 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 1969 to 1978.
I'm losing my edge.
To all the kids in Portland and Mexico City.
I'm losing my edge to the art-school Halifax 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 1976 at the first Feelies practice in a loft in Haledon.
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 Selector Dub Narcotic to the rock 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 Fort Wilson Riot. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every Ultra Naté 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 '50s cut and another box set from the '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Lydon,
David McCallum,
Siglo XX,
Magma,
Jawbox,
Pylon,
Fifty Foot Hose,
Roy Ayers,
Avey Tare's Slasher Flicks,
Public Enemy,
Cluster,
Absolute Body Control,
Banda Bassotti,
Tres Demented,
Dead Boys,
Röyhkä ja Rättö ja Lehtisalo,
Tomorrow,
The Birthday Party,
Livin' Joy,
Scan 7,
Monolake,
The Last Poets,
Deutsch Amerikanische Freundschaft,
Lou Reed & John Cale,
Fat Boys,
Spandau Ballet,
Oppenheimer Analysis,
Whodini,
The Fuzztones,
the Sonics,
Marc Almond,
Aaron Thompson,
Bob Dylan,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Groovy Waters,
Sparks,
Ash Ra Tempel,
Minor Threat,
Depeche Mode,
Arcadia,
Animal Collective,
ABC,
The Wake,
The Happenings,
Suicide,
Joe Finger,
Idris Muhammad,
D'Angelo,
Popol Vuh,
Hashim,
The Dave Clark Five,
Underground Resistance,
Kool G Rap & DJ Polo,
Zapp,
AZ,
The Monks,
Hoover,
X-102,
Sandy B,
Aural Exciters,
Sam Rivers,
Lindisfarne,
Das Ding,
The Saints,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.