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 Denmark and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Bremen and Portland.
I'm losing my edge to the art-school Paris 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 the Bar-Kays to the rap 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 Crooked Eye. All the underground hits.
All Brand Nubian tracks. I heard you have a vinyl of every Mars 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 '80s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Star Department,
The Birthday Party,
The Jesus and Mary Chain,
The Smiths,
Ohio Players,
Half Japanese,
Eden Ahbez,
The Modern Lovers,
Junior Murvin,
The Count Five,
Ten City,
Kool G Rap & DJ Polo,
Dr. Dre and Snoop Doggy Dog,
The Shadows of Knight,
Notorious BIG live in Amsterdam,
Heaven 17,
The Fugs,
The Angels of Light,
These Immortal Souls,
London Community Gospel Choir,
Adolescents,
Lightning Bolt,
OOIOO,
The Move,
Malaria!,
Mission of Burma,
Brass Construction,
Arcadia,
Electric Prunes,
Magma,
Soft Machine,
Severed Heads,
Danielle Patucci,
Bill Wells,
Michelle Simonal,
Thinking Fellers Union Local 282,
Lakeside,
Kerri Chandler,
The United States of America,
The Black Dice,
Selector Dub Narcotic,
Peter & Gordon,
Nick Fraelich,
Deadbeat,
U.S. Maple,
Avey Tare & Kría Brekkan,
F. McDonald,
Laurel Aitken,
Pharoah Sanders,
Tropical Tobacco,
Gabor Szabo,
Harpers Bizarre,
Procol Harum,
PIL,
Flamin' Groovies,
X-101,
Fifty Foot Hose,
Sam Rivers,
Urselle,
The Gladiators,
New Age Steppers,
Negative Approach,
The Techniques, The Techniques, The Techniques, The Techniques.
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.