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 Guinea-Bissau and from Shanghai.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1969 to 1972.
I'm losing my edge.
To all the kids in London and Manchester.
I'm losing my edge to the art-school Winnipeg 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 linndrum 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 Outsiders to the crunk kids.
I played it at the 40 Watt.
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 Royal Trux. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal rap 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 harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Radiopuhelimet record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Hood,
Agent Orange,
The Smoke,
Roger Hodgson,
the Soft Cell,
Albert Ayler,
Rowland S Howard / Lydia Lunch,
The Invisible,
X-102,
Scott Walker,
Scientists,
Charles Mingus,
The Monks,
Public Enemy,
the Normal,
Quantec,
David Bowie,
The Star Department,
Minor Threat,
Joy Division,
Slick Rick,
Chris & Cosey,
Main Source,
Bobby Hutcherson,
Barry Ungar,
David Axelrod,
Andrew Hill,
Pantytec,
Bizarre Inc.,
Bauhaus,
The Gun Club,
Michelle Simonal,
The Shadows of Knight,
Tubeway Army,
Peter and Kerry,
Dead Boys,
Newcleus,
Sonny Sharrock,
Boz Scaggs,
Television,
LL Cool J,
Oblivians,
MC5,
Roy Ayers,
John Lydon,
the Slits,
Dorothy Ashby,
Lalann,
The Mighty Diamonds,
Stereo Dub,
The Dead C,
Kool G Rap & DJ Polo,
New York Dolls,
Mandrill,
The New Christs,
Von Mondo,
The Pretty Things,
Brass Construction,
Gang Starr,
Teenage Jesus and the Jerks,
John Cale,
Jerry's Kids, Jerry's Kids, Jerry's Kids, Jerry's Kids.
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.