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 Sri Lanka and from Accra.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Cairo.
I'm losing my edge to the art-school Manila 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 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 Radiopuhelimet to the jazz 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every The Offenders record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Silicon Teens,
Crime,
Supertramp,
Joy Division,
Alton Ellis,
London Community Gospel Choir,
Maurizio,
Rhythm & Sound,
Kayak,
Junior Murvin,
Donny Hathaway,
The Martian,
Electric Light Orchestra,
Graham Central Station,
The Fuzztones,
Nas,
Robert Hood,
Schoolly D,
The Human League,
Black Moon,
T. Rex,
Easy Going,
Altered Images,
Vladislav Delay,
The Invisible,
Tom Boy,
The Cure,
Magma,
Average White Band,
Scrapy,
Delon & Dalcan,
Gil Scott-Heron and Jamie xx,
the Soft Cell,
A Flock of Seagulls,
Avey Tare & Kría Brekkan,
Mark Hollis,
One Last Wish,
The Mojo Men,
Neil Young & Crazy Horse,
Brass Construction,
Eric Copeland,
Sunsets and Hearts,
Jacob Miller,
Bob Dylan,
Television Personalities,
Drexciya,
Pussy Galore,
Andrew Ashong & Theo Parrish,
X-102,
Dorothy Ashby,
Zapp,
Ludus,
DNA,
Sister Nancy,
Babytalk,
The Seeds,
Barbara Tucker,
The Busters,
Ultramagnetic MC's,
Pole, Pole, Pole, Pole.
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.