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 Belgium and from Accra.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Delhi and Spokane.
I'm losing my edge to the art-school Milan 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 guitar sounds with much patience.
I was there when Donald Fagen 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 David Axelrod to the rock kids.
I played it at the Roxy.
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 Sisters of Mercy. All the underground hits.
All Pole tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
The Peanut Butter Conspiracy,
Pharaoh Sanders and the Fire Engines,
Country Teasers,
The Birthday Party,
Sun City Girls,
Traffic Nightmare,
Terry Callier,
Q and Not U,
Peter Gordon & Love of Life Orchestra,
Mandrill,
Television,
Peter and Kerry,
The Electric Prunes,
Skaos,
AZ,
the Sonics,
Organ,
Urselle,
Howard Jones,
The Dirtbombs,
Lonnie Liston Smith,
X-Ray Spex,
Pussy Galore,
Television Personalities,
Newcleus,
Half Japanese,
The Fortunes,
Spoonie Gee,
The Cowsills,
Mr. Review,
Jesper Dahlback,
Jimmy McGriff,
Pet Shop Boys,
Hardrive,
Masters at Work,
MDC,
Quando Quango,
EPMD,
The Slackers,
Patti Smith,
Isaac Hayes,
Porter Ricks,
Crime,
The Smiths,
The Residents,
Supertramp,
The Evens,
Kenny Larkin,
Nik Kershaw,
Visionaries,LMNO, T- Love & Iriscience,
Bang on a Can All-Stars,
Mary Jane Girls,
Lightning Bolt,
The Invisible,
Grandmaster Flash and the Furious Five,
Alison Limerick,
Subhumans,
Stiv Bators,
The Searchers,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.