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 Botswana and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Calgary and Accra.
I'm losing my edge to the art-school Tehran 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 sitar sounds with much patience.
I was there when Lou Reed 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 Rekid to the grime kids.
I played it at the Spitz.
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 The Searchers. All the underground hits.
All The Doors 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 punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Popol Vuh,
Black Pus,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Shadows of Knight,
Au Pairs,
Stetsasonic,
Technova,
Kango’s Stein Massive,
Slick Rick,
Louis and Bebe Barron,
Bill Wells,
Bootsy Collins,
Henry Cow,
Peter and Kerry,
Selector Dub Narcotic,
The Divine Comedy,
Chrome,
Rosa Yemen,
Maurizio,
The Golliwogs,
Sun Ra Arkestra,
Aswad,
E-Dancer,
Ultra Naté,
KRS-One,
The Smiths,
Eric Copeland,
the Germs,
Curtis Mayfield,
Outsiders,
Johnny Osbourne,
Echo & the Bunnymen,
Accadde A,
Half Japanese,
Gong,
Judy Mowatt,
Agitation Free,
Supertramp,
Gregory Isaacs,
Sly & The Family Stone,
The Dead C,
DJ Sneak,
Peter & Gordon,
Smog,
FM Einheit,
Stereo Dub,
London Community Gospel Choir,
Barclay James Harvest,
Tom Boy,
Lou Reed & John Cale,
The Index,
Ronan,
Man Parrish,
Hoover,
John Coltrane,
Glenn Branca,
Larry & the Blue Notes,
Main Source,
the Swans,
Donny Hathaway,
The Saints, The Saints, The Saints, The Saints.
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.