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 Suriname and from Milan.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Delhi 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 Robert Palmer 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 Scott Walker to the jazz 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 Massinfluence. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Inner City 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deakin record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker + Sunn O))),
Heavy D & The Boyz,
The Litter,
Tomorrow,
Röyhkä ja Rättö ja Lehtisalo,
Soft Machine,
The Gap Band,
Lower 48,
Avey Tare,
The Doobie Brothers,
Eric Dolphy,
Aural Exciters,
Liaisons Dangereuses,
a-ha,
Agent Orange,
Stereo Dub,
Crime,
Gastr Del Sol,
Supertramp,
The Moleskins,
Q and Not U,
Outsiders,
Buzzcocks,
The Divine Comedy,
Ultramagnetic MC's,
X-Ray Spex,
Section 25,
Super Lover Cee & Casanova Rud,
Black Flag,
The Durutti Column,
Barrington Levy,
The Men They Couldn't Hang,
Marc Almond,
The Kinks,
Kool G Rap & DJ Polo,
Idris Muhammad,
Captain Beefheart & His Magic Band,
Crispian St. Peters,
Das Ding,
Camberwell Now,
the Swans,
The Smiths,
Siglo XX,
Mo-Dettes,
Basic Channel,
Davy DMX,
Jeru the Damaja,
Interpol,
Arthur Verocai,
Donny Hathaway,
Motorama,
FM Einheit,
The Move,
Drive Like Jehu,
Soft Cell,
Louis and Bebe Barron,
Dual Sessions,
The American Breed,
Panda Bear,
Soulsonic Force,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.