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 Cape Verde and from Shanghai.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Tehran.
I'm losing my edge to the art-school Bologna 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 Vladislav Delay to the techno kids.
I played it at the Troubador.
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 Patti Smith. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Marcia Griffiths 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 '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Pharoah Sanders,
Alton Ellis,
Sight & Sound,
EPMD,
Subhumans,
Crash Course in Science,
Absolute Body Control,
Fort Wilson Riot,
KRS-One,
Joyce Sims,
Soul Sonic Force,
Masters at Work,
Country Joe & The Fish,
Lalo Schifrin,
Q and Not U,
Suicide,
Blossom Toes,
Magma,
Ken Boothe,
Kango’s Stein Massive,
The Selecter,
FM Einheit,
Boz Scaggs,
The Invisible,
John Cale,
Flamin' Groovies,
Warsaw,
Mandrill,
Stockholm Monsters,
Gastr Del Sol,
The Stooges,
Monks,
Pete Rock & C.L. Smooth,
Rod Modell,
Index,
The Saints,
The Doors,
Roger Hodgson,
The Doobie Brothers,
The Dave Clark Five,
Model 500,
Hashim,
Rosa Yemen,
The Associates,
Infiniti,
Nik Kershaw,
Erykah Badu,
Fat Boys,
Fifty Foot Hose,
Kevin Saunderson,
Icehouse,
Los Fastidios,
Skriet,
Clear Light,
The Beau Brummels,
Shoche,
Brick,
Marmalade,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.