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 Serbia and from Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Lille.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the marimba 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 Amon Düül II to the rock 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 The Raincoats. All the underground hits.
All Man Eating Sloth tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Rites of Spring,
Wire,
Sun Ra Arkestra,
Manfred Mann's Earth Band,
Nils Olav,
Tres Demented,
The Litter,
Sparks,
The Jesus and Mary Chain,
Babytalk,
Agitation Free,
Gil Scott Heron,
Angry Samoans,
Oneida,
The Young Rascals,
Joey Negro,
MC5,
John Holt,
Blancmange,
Scratch Acid,
Das Ding,
Los Fastidios,
The Remains,
DNA,
48th St. Collective,
Negative Approach,
Marmalade,
Quadrant,
H. Thieme,
Ultravox,
Matthew Halsall,
CMW,
Absolute Body Control,
Moss Icon,
Dual Sessions,
Be Bop Deluxe,
Bootsy Collins,
Stetsasonic,
Crime,
Amon Düül,
Boogie Down Productions,
Skriet,
Graham Central Station,
This Heat,
Man Eating Sloth,
Dark Day,
Index,
The United States of America,
The Residents,
Subhumans,
ABC,
June Days,
Black Bananas,
Soft Cell,
Pylon,
Rowland S Howard / Lydia Lunch,
In Retrospect,
Whodini,
Jeff Lynne,
Barclay James Harvest,
Outsiders,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.