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 Togo and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in Tehran and Manila.
I'm losing my edge to the art-school Portland 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 chamberlin 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 Bluetip to the punk 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 Toni Rubio. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every The Seeds 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a John Lydon record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
The Last Poets,
James Chance & The Contortions,
One Last Wish,
the Soft Cell,
Nirvana,
Negative Approach,
Sugar Minott,
Rahsaan Roland Kirk,
Strawberry Alarm Clock,
Röyhkä ja Rättö ja Lehtisalo,
The Sisters of Mercy,
Sight & Sound,
Procol Harum,
Oppenheimer Analysis,
Camouflage,
Kas Product,
Magazine,
The Pop Group,
Icehouse,
Unrelated Segments,
Nico,
Fatback Band,
Rotary Connection,
Swell Maps,
Lizzy Mercier Descloux,
Pantytec,
Pantaleimon,
Sandy B,
The Real Kids,
Rhythm & Sound,
Matthew Halsall,
Half Japanese,
Kool Moe Dee,
Lungfish,
David Axelrod,
Faust,
Tropical Tobacco,
Neu!,
The Offenders,
The American Breed,
The Neon Judgement,
Eric Dolphy,
Roy Ayers,
Slave,
The Kinks,
The Cramps,
Suburban Knight,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Soft Machine,
Boz Scaggs,
The Gories,
T. Rex,
Masters at Work,
Young Marble Giants,
Flash Fearless,
Art Ensemble Of Chicago,
Black Moon,
Danielle Patucci,
The Black Dice,
Al Stewart,
Barry Ungar,
Maurizio, Maurizio, Maurizio, Maurizio.
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.