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 Mauritius and from Woodstock.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Bremen and Taipei.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Joe Smooth to the punk kids.
I played it at the 40 Watt.
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 Oneida. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rites of Spring,
Heavy D & The Boyz,
Maleditus Sound,
Gian Franco Pienzio,
KRS-One,
Joyce Sims,
Severed Heads,
The Detroit Cobras,
The Remains,
8 Eyed Spy,
Arab on Radar,
Skarface,
Ash Ra Tempel,
Liaisons Dangereuses,
Minny Pops,
Gang of Four,
Michelle Simonal,
Beasts of Bourbon,
Skriet,
The Dave Clark Five,
Pere Ubu,
Inner City,
Harpers Bizarre,
The Moleskins,
Negative Approach,
June of 44,
Justin Hinds & The Dominoes,
Nas,
Khruangbin,
Bob Dylan,
Circle Jerks,
Tres Demented,
Eyeless In Gaza,
Patti Smith,
The New Christs,
the Soft Cell,
The Dead C,
The Associates,
Silicon Teens,
The Fall,
Can,
The Neon Judgement,
Colin Newman,
Banda Bassotti,
Shuggie Otis,
Letta Mbulu,
Marine Girls,
JFA,
Trumans Water,
Procol Harum,
The Electric Prunes,
Peter & Gordon,
The Litter,
Pussy Galore,
OOIOO,
Barbara Tucker,
John Lydon,
The Slackers,
Motorama,
Babytalk,
The Fortunes,
The Move,
Nirvana, Nirvana, Nirvana, Nirvana.
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.