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 Guyana and from Spokane.
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 1976.
I'm losing my edge.
To all the kids in Lille and Portland.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Desert Stars to the rock kids.
I played it at the Roxy.
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 Germs. All the underground hits.
All World's Most tracks. I heard you have a vinyl of every Unwound 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Fugazi,
Al Stewart,
Tom Boy,
Tears for Fears,
B.T. Express,
Eli Mardock,
The Misunderstood,
Lou Reed & John Cale,
Smog,
Susan Cadogan,
The Knickerbockers,
Marmalade,
Suicide,
Sister Nancy,
48th St. Collective,
Richard Hell and the Voidoids,
John Cale,
Roger Hodgson,
Erasure,
Blossom Toes,
Flamin' Groovies,
Bootsy's Rubber Band,
Scratch Acid,
Sunsets and Hearts,
The New Christs,
Man Parrish,
Curtis Mayfield,
Wally Richardson,
X-Ray Spex,
Radio Birdman,
Oblivians,
DJ Sneak,
Average White Band,
Porter Ricks,
June Days,
Gong,
Scan 7,
Ice-T,
Super Lover Cee & Casanova Rud,
The Vogues,
Lindisfarne,
Soft Machine,
Ash Ra Tempel,
Big Daddy Kane,
Lee Hazlewood,
Marc Almond,
Cybotron,
Gang of Four,
Funky Four + One,
A Certain Ratio,
Althea and Donna,
Bluetip,
Freddie Wadling,
Jeff Mills,
Boz Scaggs,
Tomorrow,
Dr. Dre and Snoop Doggy Dog,
Deadbeat,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.