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 Namibia and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1972.
I'm losing my edge.
To all the kids in Salvador and Paris.
I'm losing my edge to the art-school New York 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 Nile Rodgers 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 Red Krayola to the jazz 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 Deadbeat. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
The United States of America,
Schoolly D,
John Holt,
Notorious BIG live in Amsterdam,
Bootsy's Rubber Band,
A Certain Ratio,
The Men They Couldn't Hang,
Hashim,
The Gun Club,
Sunsets and Hearts,
The Young Rascals,
The Slackers,
the Bar-Kays,
Guru Guru,
Gary Puckett & The Union Gap,
Scan 7,
The J.B.'s,
Royal Trux,
The Selecter,
The Motions,
Davy DMX,
DNA,
Underground Resistance,
Interpol,
The Dave Clark Five,
Cabaret Voltaire,
Panda Bear,
Wally Richardson,
Lou Reed & Metallica,
The Searchers,
Prince Buster,
Bobby Sherman,
June of 44,
The Knickerbockers,
The Raincoats,
Deutsch Amerikanische Freundschaft,
Sam Rivers,
Radiopuhelimet,
The Monochrome Set,
Moss Icon,
Young Marble Giants,
Visionaries,LMNO, T- Love & Iriscience,
The Five Americans,
James Chance & The Contortions,
Tom Boy,
Maurizio,
Roy Ayers,
Dorothy Ashby,
Ajijia Myrayebe,
The Blackbyrds,
The Move,
Yusef Lateef,
The Slits,
Peter Gordon & Love of Life Orchestra,
Andrew Ashong & Theo Parrish,
Isaac Hayes,
Magma,
Marine Girls,
Eyeless In Gaza,
Q65,
Deakin, Deakin, Deakin, Deakin.
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.