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 Haiti and from Lille.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Accra and Beijing.
I'm losing my edge to the art-school Taipei 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 chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Can to the rock kids.
I played it at the Hacienda.
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 Dawn Penn. All the underground hits.
All Pharoah Sanders tracks. I heard you have a vinyl of every Motorama record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Vainqueur record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Audionom,
Terrestrial Tones,
The Techniques,
Lou Reed,
Spoonie Gee,
DJ Style,
Ice-T,
Das Ding,
Make Up,
48th St. Collective,
Urselle,
Lindisfarne,
Derrick Morgan,
Grauzone,
Warren Ellis,
De La Soul & Jungle Brothers,
Boogie Down Productions,
Piero Umiliani,
The Martian,
Yusef Lateef,
Magazine,
Quantec,
Tom Boy,
Steve Hackett,
MC5,
Unwound,
Michelle Simonal,
the Swans,
R.M.O.,
Dennis Brown,
Derrick May,
Echo & the Bunnymen,
the Slits,
A Certain Ratio,
Clear Light,
Lucky Dragons,
Black Moon,
The Five Americans,
Throbbing Gristle,
Lou Christie,
Little Man,
Eric B and Rakim,
Siglo XX,
Howard Jones,
The Flesh Eaters,
Roy Ayers Ubiquity,
Pulsallama,
DNA,
Negative Approach,
Ohio Players,
Underground Resistance,
Trumans Water,
Con Funk Shun,
Mantronix,
Alison Limerick,
Juan Atkins,
Scientists,
Joe Smooth,
Deutsch Amerikanische Freundschaft,
Public Image Ltd.,
Pharaoh Sanders and the Fire Engines,
Ponytail,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.