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 Pakistan and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Taipei and Lille.
I'm losing my edge to the art-school Tehran 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 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 Camron Feat. Memphis Bleek And Beenie Seigel to the dance kids.
I played it at the Roxy.
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 Accadde A. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Ossler 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your organ and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Scratch Acid,
Fear,
Half Japanese,
The Happenings,
Orchestral Manoeuvres in the Dark,
The Litter,
The Searchers,
John Coltrane,
La Düsseldorf,
This Heat,
Rapeman,
Visage,
The Move,
Man Eating Sloth,
The Five Americans,
Animal Collective,
Derrick May,
KRS-One,
Qualms,
DeepChord presents Echospace,
Amazonics,
Brass Construction,
Susan Cadogan,
Avey Tare's Slasher Flicks,
Notorious Big And Bone Thugs,
Talk Talk,
Letta Mbulu,
Ultravox,
The Last Poets,
Subhumans,
Gil Scott Heron,
Dual Sessions,
Maleditus Sound,
Lower 48,
Saccharine Trust,
Spoonie Gee,
The Gap Band,
Freddie Wadling,
Justin Hinds & The Dominoes,
Stockholm Monsters,
Patti Smith,
The Standells,
Wings,
Harmonia,
Deutsch Amerikanische Freundschaft,
Reagan Youth,
Average White Band,
Angels of Light & Akron/Family,
The Angels of Light,
Rotary Connection,
Symarip,
the Swans,
Supertramp,
Audionom,
Slick Rick,
Deadbeat,
Glenn Branca,
Liliput,
Blake Baxter,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.