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 Syria and from Accra.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Salvador and Portland.
I'm losing my edge to the art-school Sao Paulo 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 sitar 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 Big Daddy Kane to the jazz 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 Arthur Verocai. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every Kaleidoscope 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 '70s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Audionom,
Vaughan Mason & Crew,
Pantytec,
Dennis Brown,
Malaria!,
Matthew Halsall,
Cecil Taylor,
U.S. Maple,
Robert Görl,
Pierre Henry,
The Smoke,
Eve St. Jones,
Ralphi Rosario,
L. Decosne,
Basic Channel,
Ponytail,
Lalann,
Lonnie Liston Smith,
Selector Dub Narcotic,
Brand Nubian,
Lindisfarne,
Scott Walker,
Avey Tare,
Schoolly D,
The Kinks,
Bush Tetras,
Supertramp,
Kevin Saunderson,
Avey Tare's Slasher Flicks,
The Trojans,
Das Ding,
The Invisible,
Althea and Donna,
Barry Ungar,
Thee Headcoats,
The Martian,
T.S.O.L.,
Delon & Dalcan,
La Düsseldorf,
Surgeon,
The Leaves,
Reuben Wilson,
A Flock of Seagulls,
Electric Light Orchestra,
Ajijia Myrayebe,
The Grass Roots,
Ultramagnetic MC's,
The Gladiators,
Matthew Bourne,
The Skatalites,
Cluster,
Icehouse,
Jesper Dahlbäck,
Sun City Girls,
The Alarm Clocks,
The Sonics,
The Men They Couldn't Hang,
Scan 7,
Flamin' Groovies,
The Fugs,
the Human League,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.