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 Czech Republic and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Sao Paulo.
I'm losing my edge to the art-school Manila 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Art Ensemble Of Chicago to the jazz kids.
I played it at the Roxy.
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 Johnny Clarke. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Danielle Patucci 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 '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your güiro and bought an oboe.
I hear that you and your band have sold your oboe and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Avey Tare's Slasher Flicks,
Rhythim Is Rhythim,
Idris Muhammad,
Fugazi,
the Slits,
Sexual Harrassment,
Marmalade,
The Moody Blues,
Mo-Dettes,
Essential Logic,
Cabaret Voltaire,
Jimmy McGriff,
Man Eating Sloth,
Barclay James Harvest,
Johnny Osbourne,
The Trojans,
Kas Product,
The Fire Engines,
David Axelrod,
DNA,
Crispian St. Peters,
The Leaves,
Royal Trux,
The Gun Club,
Minny Pops,
Unwound,
Prince Buster,
Rufus Thomas,
Camron Feat. Memphis Bleek And Beenie Seigel,
Steve Hackett,
UT,
The Invisible,
Ultimate Spinach,
The Pop Group,
The Names,
Alison Limerick,
Eurythmics,
Ultra Naté,
Pantytec,
Alphaville,
The Buckinghams,
Gong,
Hashim,
Gang of Four,
Whodini,
Blossom Toes,
Von Mondo,
Grandmaster Flash,
Los Fastidios,
Negative Approach,
Marine Girls,
Nils Olav,
Aural Exciters,
Dorothy Ashby,
This Heat,
The Moleskins,
Mad Mike,
The Red Krayola,
The Fortunes,
The Dirtbombs,
Harry Pussy,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.