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 Luxembourg and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Houston and Toronto.
I'm losing my edge to the art-school Delhi 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 theremin sounds with much patience.
I was there when Robert Palmer 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 The Sound to the grunge 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 Avey Tare's Slasher Flicks. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
The Happenings,
Eurythmics,
Bluetip,
Arthur Verocai,
The Fugs,
Japan,
Ralphi Rosario,
The Dirtbombs,
The Gun Club,
Angels of Light & Akron/Family,
Barclay James Harvest,
The Star Department,
The Zeros,
Aural Exciters,
Rites of Spring,
Bootsy Collins,
Crash Course in Science,
Selector Dub Narcotic,
Delta 5,
Idris Muhammad,
Thee Headcoats,
X-101,
Brothers Johnson,
Louis and Bebe Barron,
Sister Nancy,
Quantec,
Tres Demented,
Echospace,
Massinfluence,
Lonnie Liston Smith,
MC5,
Glenn Branca,
Major Organ And The Adding Machine,
The Slackers,
Brass Construction,
June of 44,
Traffic Nightmare,
Interpol,
The Busters,
Procol Harum,
John Coltrane,
Parry Music,
Oneida,
Girls At Our Best!,
Joyce Sims,
Notorious Big And Bone Thugs,
The Blackbyrds,
H. Thieme,
The Cramps,
Bobby Womack,
Ice-T,
Eve St. Jones,
Ohio Players,
Dr. Dre and Snoop Doggy Dog,
Lebanon Hanover,
OOIOO,
Fort Wilson Riot,
Alton Ellis,
Gregory Isaacs,
Y Pants,
Jandek,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.