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 Colombia and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Manchester and Glasgow.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Pretty Things to the grunge kids.
I played it at the Astoria.
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 Sixth Finger. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal techno 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camron Feat. Memphis Bleek And Beenie Seigel,
Blossom Toes,
The Martian,
The Zeros,
Talk Talk,
Jawbox,
Bauhaus,
Gil Scott Heron,
The Peanut Butter Conspiracy,
Terrestrial Tones,
Lizzy Mercier Descloux,
The Angels of Light,
Surgeon,
Mandrill,
The Searchers,
Alice Coltrane,
John Cale,
The Monochrome Set,
Scion,
The Evens,
8 Eyed Spy,
Moebius,
the Slits,
It's A Beautiful Day,
Section 25,
Piero Umiliani,
Symarip,
Mission of Burma,
Avey Tare's Slasher Flicks,
Clear Light,
Los Fastidios,
Sixth Finger,
Pagans,
Babytalk,
The Red Krayola,
Gerry Rafferty,
The Sonics,
The Modern Lovers,
Magma,
The Standells,
Glambeats Corp.,
UT,
Barrington Levy,
Newcleus,
Mr. Review,
Pharoah Sanders,
The Wake,
Ralphi Rosario,
Blancmange,
Unrelated Segments,
Minny Pops,
Sällskapet,
E-Dancer,
Aural Exciters,
B.T. Express,
Lyres,
Soft Machine,
DeepChord presents Echospace,
Desert Stars,
Alton Ellis,
Rakim, Rakim, Rakim, Rakim.
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.