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 Lesotho and from Taipei.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Manchester and Madrid.
I'm losing my edge to the art-school Tokyo 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Theoretical Girls to the crunk 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 Jerry's Kids. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Selector Dub Narcotic record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joey Negro record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Nas,
Albert Ayler,
Eve St. Jones,
James White and The Blacks,
Ultimate Spinach,
Kenny Larkin,
Metal Thangz,
Nick Fraelich,
Erasure,
Soft Machine,
Lonnie Liston Smith,
Al Stewart,
Banda Bassotti,
Maleditus Sound,
Man Parrish,
Neil Young & Crazy Horse,
Pulsallama,
Jacques Brel,
Loose Ends,
Malaria!,
Main Source,
The Tremeloes,
48th St. Collective,
Andrew Hill,
Mantronix,
Byron Stingily,
Rapeman,
Circle Jerks,
F. McDonald,
Stereo Dub,
The Royal Family And The Poor,
the Germs,
Godley & Creme,
Infiniti,
Teenage Jesus and the Jerks,
Matthew Halsall,
Gil Scott-Heron and Jamie xx,
AZ,
Rekid,
Blossom Toes,
Glambeats Corp.,
Crash Course in Science,
John Cale,
Second Layer,
Soul Sonic Force,
Lou Reed,
Strawberry Alarm Clock,
Throbbing Gristle,
Avey Tare,
Siouxsie and the Banshees,
Unwound,
Nick Cave & The Bad Seeds,
Brand Nubian,
Outsiders,
Thee Headcoats,
Absolute Body Control,
Mandrill,
Dawn Penn,
Fugazi,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.