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 Ethiopia and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1971.
I'm losing my edge.
To all the kids in Lille and Edmonton.
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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Sticky Fingaz feat. Raekwon to the grime 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 Dual Sessions. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Darondo 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 '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Q65,
Danielle Patucci,
Godley & Creme,
The Busters,
Davy DMX,
The Gories,
Jimmy McGriff,
Graham Central Station,
Deutsch Amerikanische Freundschaft,
Sister Nancy,
Dead Boys,
Zapp,
Sex Pistols,
Piero Umiliani,
Terry Callier,
Neil Young,
Goldenarms,
Susan Cadogan,
Blossom Toes,
Bobby Byrd,
Symarip,
Lower 48,
The Standells,
The Names,
China Crisis,
Boz Scaggs,
F. McDonald,
Livin' Joy,
Siouxsie and the Banshees,
Grauzone,
Bang on a Can All-Stars,
R.M.O.,
Arab on Radar,
Underground Resistance,
Bizarre Inc.,
Hoover,
Pole,
Animal Collective,
David McCallum,
The Stooges,
The Selecter,
World's Most,
cv313,
Absolute Body Control,
The Associates,
Moss Icon,
Michelle Simonal,
Das Ding,
Deadbeat,
The Cramps,
The Sound,
Bobbi Humphrey,
Grey Daturas,
the Swans,
The Pop Group,
Darondo,
EPMD,
The Star Department,
The Searchers,
New Order,
The Dead C, The Dead C, The Dead C, The Dead C.
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.