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 Russia and from Toronto.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Spokane.
I'm losing my edge to the art-school Mexico City 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 1987 at the first Nirvana practice in a loft in Seattle.
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 The Slits to the rock kids.
I played it at the Astoria.
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 Kings Of Tomorrow. All the underground hits.
All Prince Buster tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
The Selecter,
Lucky Dragons,
Yaz,
Swell Maps,
The Durutti Column,
Amazonics,
Nas,
Soft Cell,
Quantec,
The Velvet Underground,
Sarah Menescal,
The Victims,
John Lydon,
Junior Murvin,
Warren Ellis,
Malaria!,
Richard Hell and the Voidoids,
Gong,
The Sound,
Maleditus Sound,
H. Thieme,
Derrick Morgan,
Jesper Dahlback,
Hasil Adkins,
Adolescents,
Swans,
The Index,
Wally Richardson,
The Doobie Brothers,
Faraquet,
Second Layer,
Minnie Riperton,
Scratch Acid,
Sad Lovers and Giants,
Nick Fraelich,
Cymande,
The Names,
It's A Beautiful Day,
Zapp,
Gastr Del Sol,
Kayak,
Anakelly,
Fugazi,
Marvin Gaye,
The Martian,
Hoover,
Joensuu 1685,
The Star Department,
June of 44,
The Electric Prunes,
Thompson Twins,
The Music Machine,
Circle Jerks,
the Germs,
Harry Pussy,
Metal Thangz,
Simply Red,
New Age Steppers,
Bobby Sherman,
Organ,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.