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 Estonia and from Halifax.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Portland and Portland.
I'm losing my edge to the art-school Mumbai 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 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 Lebanon Hanover to the techno kids.
I played it at the Spitz.
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 Gregory Isaacs. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every The Seeds 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 guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Monochrome Set record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Whodini,
Underground Resistance,
Mark Hollis,
Kurtis Blow,
Stetsasonic,
Brass Construction,
Television Personalities,
Nirvana,
Lucky Dragons,
The Dave Clark Five,
Soulsonic Force,
The Raincoats,
New Age Steppers,
Faraquet,
The Index,
The Sisters of Mercy,
Roger Hodgson,
the Bar-Kays,
The Beau Brummels,
Rites of Spring,
Orchestral Manoeuvres in the Dark,
the Fania All-Stars,
Fat Boys,
The Blues Magoos,
Avey Tare,
Public Enemy,
The J.B.'s,
Wighnomy Brothers & Robag Wruhme,
Darondo,
Pulsallama,
Hot Snakes,
Section 25,
Main Source,
The Residents,
The Doors,
The Toasters,
Visionaries,LMNO, T- Love & Iriscience,
Terrestrial Tones,
Ten City,
The Electric Prunes,
Rotary Connection,
Gil Scott-Heron & Brian Jackson,
Glambeats Corp.,
Scratch Acid,
Eurythmics,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Misunderstood,
Moby Grape,
Liliput,
Amazonics,
Jerry Gold Smith,
Aswad,
Leonard Cohen,
Barry Ungar,
Accadde A,
The Motions,
Ituana,
Lebanon Hanover,
Jawbox,
Magazine,
Mad Mike,
John Lydon,
Second Layer, Second Layer, Second Layer, Second Layer.
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.