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 Benin and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1967 to 1970.
I'm losing my edge.
To all the kids in New York and London.
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 rhodes 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 Eurythmics to the crunk kids.
I played it at the Troubador.
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 Joe Finger. All the underground hits.
All The Gladiators tracks. I heard you have a vinyl of every Lindisfarne 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Ten City,
Masters at Work,
Pharaoh Sanders and the Fire Engines,
8 Eyed Spy,
Graham Central Station,
ABC,
U.S. Maple,
Pulsallama,
Harry Pussy,
Hashim,
Bootsy's Rubber Band,
Scratch Acid,
F. McDonald,
The Gap Band,
Matthew Halsall,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Al Stewart,
Lou Christie,
Bob Dylan,
The Fire Engines,
Youth Brigade,
Ossler,
L. Decosne,
Roxy Music,
Bluetip,
X-102,
Country Teasers,
Severed Heads,
Shuggie Otis,
Howard Jones,
The Angels of Light,
Soul II Soul,
Black Flag,
New York Dolls,
Faraquet,
The Moleskins,
the Swans,
The Vogues,
Hoover,
Fluxion,
Johnny Osbourne,
Avey Tare,
Louis and Bebe Barron,
Brick,
Be Bop Deluxe,
Public Image Ltd.,
Darondo,
the Sonics,
Byron Stingily,
Dorothy Ashby,
The Five Americans,
Banda Bassotti,
John Foxx,
Laurel Aitken,
Television,
The Standells,
Danielle Patucci,
Infiniti,
Tomorrow,
Joey Negro,
Brothers Johnson,
Silicon Teens,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.