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 Antigua and from Calgary.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and London.
I'm losing my edge to the art-school Spokane 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 oboe 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 Anakelly to the rock kids.
I played it at the Spitz.
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 Zapp. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
The Velvet Underground,
Black Flag,
Idris Muhammad,
Faraquet,
F. McDonald,
Funkadelic,
Warsaw,
Tubeway Army,
B.T. Express,
Pierre Henry,
Skaos,
Cameo,
Unwound,
Kerrie Biddell,
The Pretty Things,
Sparks,
Brand Nubian,
The Leaves,
The Buckinghams,
Wasted Youth,
The Neon Judgement,
The Techniques,
Avey Tare's Slasher Flicks,
One Last Wish,
Guru Guru,
Dark Day,
Porter Ricks,
Faust,
Lakeside,
Scott Walker,
Wire,
cv313,
Peter and Kerry,
Zapp,
Thinking Fellers Union Local 282,
Oneida,
Ossler,
Masters at Work,
Grandmaster Flash,
Severed Heads,
Gastr Del Sol,
The United States of America,
Brothers Johnson,
E-Dancer,
Essential Logic,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Boogie Down Productions,
Ultravox,
Fifty Foot Hose,
Orchestral Manoeuvres in the Dark,
The Detroit Cobras,
The Durutti Column,
The Residents,
Reuben Wilson,
The Monks,
Lower 48,
Index,
The Fire Engines,
Max Romeo,
Motorama,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.