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 Columbus.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Spokane and London.
I'm losing my edge to the art-school Bremen 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Tomorrow to the grunge kids.
I played it at the Crocodile.
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 Real Kids. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Gregory Isaacs,
Siouxsie and the Banshees,
Lou Reed,
Boogie Down Productions,
K-Klass,
Ultramagnetic MC's,
Joe Smooth,
Vainqueur,
the Slits,
Suburban Knight,
The Searchers,
UT,
Scientists,
Curtis Mayfield,
The Wake,
Ralphi Rosario,
Bauhaus,
PIL,
Outsiders,
Visage,
Deadbeat,
Cheater Slicks,
Saccharine Trust,
Aural Exciters,
Brick,
Television,
OOIOO,
Aaron Thompson,
Kevin Saunderson,
The Associates,
Joe Finger,
Howard Jones,
Ponytail,
Boz Scaggs,
Man Parrish,
Parry Music,
Ohio Players,
Delta 5,
Sugar Minott,
Donald Byrd,
Brothers Johnson,
The Kinks,
Johnny Clarke,
Animal Collective,
This Heat,
Soft Cell,
cv313,
Maleditus Sound,
Crash Course in Science,
Blancmange,
Liliput,
Soul II Soul,
Tres Demented,
Max Romeo,
Inner City,
The Sound,
The Index,
Jacob Miller,
Zapp,
Faust, Faust, Faust, Faust.
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.