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 Gabon and from Lille.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1971.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
I'm losing my edge to the art-school Copenhagen 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 Donald Fagen 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 Gary Puckett & The Union Gap to the crunk kids.
I played it at CBGB's.
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 Byron Stingily. All the underground hits.
All Eve St. Jones tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Larry & the Blue Notes,
The Fire Engines,
X-Ray Spex,
Lou Reed & Metallica,
Black Moon,
The Divine Comedy,
Blossom Toes,
Vladislav Delay,
Cymande,
Vainqueur,
The Chocolate Watch Band,
Jacques Brel,
Susan Cadogan,
48th St. Collective,
Faraquet,
Echo & the Bunnymen,
Y Pants,
Black Flag,
Idris Muhammad,
E-Dancer,
Warren Ellis,
Model 500,
The Busters,
Eric B and Rakim,
Arthur Verocai,
The Smoke,
Television Personalities,
Procol Harum,
Talk Talk,
Johnny Osbourne,
Ludus,
Josef K,
OOIOO,
Supertramp,
Kayak,
Rhythm & Sound,
Nation of Ulysses,
Massinfluence,
Q and Not U,
The Dirtbombs,
The Residents,
Urselle,
KRS-One,
Gian Franco Pienzio,
Harpers Bizarre,
Average White Band,
Banda Bassotti,
New Age Steppers,
Saccharine Trust,
Marc Romboy vs. Booka Shade,
Dave Gahan,
Joey Negro,
Boredoms,
One Last Wish,
Visionaries,LMNO, T- Love & Iriscience,
Sight & Sound,
Freddie Wadling,
The Offenders,
John Lydon, John Lydon, John Lydon, John Lydon.
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.