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 Uruguay and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Bologna and Spokane.
I'm losing my edge to the art-school Delhi 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 organ 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 Minor Threat to the jazz 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 Harry Pussy. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Kaleidoscope 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
Saccharine Trust,
Ralphi Rosario,
Kerrie Biddell,
World's Most,
Bang On A Can,
The Star Department,
Kurtis Blow,
Soft Machine,
John Holt,
K-Klass,
Cal Tjader,
FM Einheit,
Radiopuhelimet,
Minnie Riperton,
Orchestral Manoeuvres in the Dark,
Joey Negro,
Black Sheep,
The Litter,
Kerri Chandler,
Eric Copeland,
cv313,
H. Thieme,
Franke,
The Doors,
Vladislav Delay,
Henry Cow,
The Dirtbombs,
The Happenings,
Man Parrish,
Al Stewart,
Skarface,
Johnny Clarke,
The Saints,
Art Ensemble Of Chicago,
Index,
Altered Images,
Godley & Creme,
London Community Gospel Choir,
Arcadia,
Aswad,
Avey Tare & Kría Brekkan,
MDC,
The Associates,
the Bar-Kays,
Stockholm Monsters,
Yusef Lateef,
Eurythmics,
Intrusion,
James Chance & The Contortions,
David McCallum,
Anthony Braxton,
Marine Girls,
Steve Hackett,
Lyres,
Dual Sessions,
Wire,
Flash Fearless,
The Smiths,
Siouxsie and the Banshees,
Japan, Japan, Japan, Japan.
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.