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 Tajikistan and from Houston.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Mexico City.
I'm losing my edge to the art-school Lille 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 güiro sounds with much patience.
I was there when Tom Verlaine 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 Eric Dolphy to the grime kids.
I played it at the Hacienda.
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 the Normal. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal funk 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 theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Y Pants,
Gil Scott-Heron & Brian Jackson,
Teenage Jesus and the Jerks,
Siouxsie and the Banshees,
David Axelrod,
Symarip,
Althea and Donna,
MC5,
Thee Headcoats,
The Angels of Light,
Fugazi,
Hoover,
Lebanon Hanover,
Andrew Hill,
Sound Behaviour,
The Smoke,
Lakeside,
The Alarm Clocks,
Donny Hathaway,
Jimmy McGriff,
The Shadows of Knight,
CMW,
The Dead C,
Tears for Fears,
Gil Scott Heron,
Gabor Szabo,
Gian Franco Pienzio,
The Martian,
The Dave Clark Five,
Andrew Ashong & Theo Parrish,
Lou Reed,
Subhumans,
The Remains,
Gil Scott-Heron and Jamie xx,
Deakin,
Boredoms,
Bob Dylan,
The Selecter,
The Gap Band,
Ultra Naté,
The Cosmic Jokers,
Lightning Bolt,
Surgeon,
Excepter,
Kaleidoscope,
Donald Byrd,
Visage,
Alice Coltrane,
Infiniti,
Animal Collective,
the Germs,
John Coltrane,
Harpers Bizarre,
B.T. Express,
Neu!,
The Index,
Joe Smooth,
Roy Ayers,
Boz Scaggs,
Radiohead,
Alphaville,
Lalann, Lalann, Lalann, Lalann.
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.