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 Botswana and from Columbus.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Tehran and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 snare sounds with much patience.
I was there when Lou Reed 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 Wire to the punk kids.
I played it at CBGB's.
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 Jawbox. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every the Association 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Aural Exciters,
Bill Near,
The Beau Brummels,
B.T. Express,
Crime,
Danielle Patucci,
Monks,
The Pop Group,
The Dead C,
DNA,
World's Most,
Suburban Knight,
Peter Gordon & Love of Life Orchestra,
London Community Gospel Choir,
Black Sheep,
Yusef Lateef,
Kas Product,
Blancmange,
Public Image Ltd.,
Kool G Rap & DJ Polo,
Second Layer,
Harmonia,
Lizzy Mercier Descloux,
Barry Ungar,
The Martian,
Swans,
The Cowsills,
Eden Ahbez,
Swell Maps,
Avey Tare & Kría Brekkan,
The Dave Clark Five,
Sound Behaviour,
Flipper,
Bill Wells,
Interpol,
Faust,
Supertramp,
Niagra,
Rotary Connection,
Gerry Rafferty,
Lou Reed,
John Lydon,
Jesper Dahlbäck,
Jacob Miller,
Rites of Spring,
Electric Light Orchestra,
Althea and Donna,
Surgeon,
Bauhaus,
the Bar-Kays,
Terrestrial Tones,
ABC,
Kevin Saunderson,
Johnny Osbourne,
Anakelly,
Cabaret Voltaire,
It's A Beautiful Day,
Camron Feat. Memphis Bleek And Beenie Seigel,
Desert Stars,
Banda Bassotti,
The Smiths, The Smiths, The Smiths, The Smiths.
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.