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 Uzbekistan and from Houston.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Manchester and Lille.
I'm losing my edge to the art-school Glasgow 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 Michael McDonald 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 Fort Wilson Riot to the grime 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 EPMD. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every Eric Dolphy 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Massinfluence,
The Knickerbockers,
The Music Machine,
Peter Gordon & Love of Life Orchestra,
Yellowson,
The Shadows of Knight,
Glambeats Corp.,
Magma,
Eddi Front,
The Detroit Cobras,
The Happenings,
10cc,
Notorious BIG live in Amsterdam,
Ponytail,
AZ,
KRS-One,
Blossom Toes,
Dorothy Ashby,
Thinking Fellers Union Local 282,
The Evens,
The Jesus and Mary Chain,
Swans,
Marcia Griffiths,
Main Source,
X-102,
Skarface,
Be Bop Deluxe,
James White and The Blacks,
Louis and Bebe Barron,
The Wake,
Sonic Youth,
The American Breed,
The Trojans,
Captain Beefheart & His Magic Band,
Orchestral Manoeuvres in the Dark,
Angry Samoans,
Drexciya,
Jesper Dahlback,
Sound Behaviour,
Arcadia,
X-101,
Electric Light Orchestra,
Patti Smith,
Bobby Sherman,
Heaven 17,
The Fortunes,
The Chocolate Watch Band,
The Dave Clark Five,
Crooked Eye,
CMW,
Nirvana,
Fela Kuti,
Colin Newman,
Susan Cadogan,
Organ,
Liliput,
Sun Ra Arkestra,
A Certain Ratio,
Pole,
D'Angelo,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.