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 Guinea and from Glasgow.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Portland and Madrid.
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 arpeggiator 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 Alphaville to the techno kids.
I played it at the Hacienda.
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 James Chance & The Contortions. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every The Dave Clark Five 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sugar Minott,
Crash Course in Science,
X-Ray Spex,
London Community Gospel Choir,
Darondo,
The Grass Roots,
Radiohead,
Rakim,
Neu!,
Leonard Cohen,
Blancmange,
Spandau Ballet,
Marvin Gaye,
Young Marble Giants,
Lou Reed,
Moby Grape,
Gabor Szabo,
The Gap Band,
Nas,
Marc Romboy vs. Booka Shade,
Marcia Griffiths,
the Germs,
Circle Jerks,
Johnny Clarke,
Archie Shepp,
Dead Boys,
Swell Maps,
Steve Hackett,
Maleditus Sound,
Black Sheep,
The Music Machine,
Con Funk Shun,
Jimmy McGriff,
LL Cool J,
The Dirtbombs,
Grandmaster Flash,
Cluster,
Thompson Twins,
Scott Walker,
FM Einheit,
Sister Nancy,
Sun Ra,
Byron Stingily,
Sällskapet,
Eric Copeland,
Newcleus,
Minnie Riperton,
The Last Poets,
Ultra Naté,
Dark Day,
New York Dolls,
Infiniti,
Avey Tare & Kría Brekkan,
Marmalade,
Skaos,
Ossler,
Dawn Penn,
Technova,
Jawbox,
Public Image Ltd.,
The Dead C,
Rapeman,
48th St. Collective,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.