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 Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Shanghai 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 Gap Band to the disco 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 The Pretty Things. All the underground hits.
All Graham Central Station tracks. I heard you have a vinyl of every U.S. Maple record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your güiro and bought a snare.
I hear that you and your band have sold your snare and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Dr. Dre and Snoop Doggy Dog,
Dark Day,
Sarah Menescal,
Kurtis Blow,
Liaisons Dangereuses,
Connie Case,
Depeche Mode,
Man Parrish,
These Immortal Souls,
Masters at Work,
Robert Hood,
John Lydon,
Be Bop Deluxe,
Yusef Lateef,
Thinking Fellers Union Local 282,
the Germs,
The Motions,
Subhumans,
Lebanon Hanover,
Television,
Danielle Patucci,
Slave,
Tom Boy,
Alison Limerick,
Sound Behaviour,
Ash Ra Tempel,
Bizarre Inc.,
Popol Vuh,
Lou Christie,
T. Rex,
Dorothy Ashby,
The Jesus and Mary Chain,
the Swans,
Iggy Pop,
Warsaw,
Rekid,
Cymande,
Franke,
the Fania All-Stars,
Gil Scott-Heron and Jamie xx,
The Pop Group,
Public Image Ltd.,
The Monks,
Yaz,
Stereo Dub,
Scott Walker + Sunn O))),
Blake Baxter,
Crooked Eye,
The Blackbyrds,
Sixth Finger,
Guru Guru,
The J.B.'s,
Adolescents,
Pylon,
A Flock of Seagulls,
Lou Reed & Metallica,
The Fortunes,
Maurizio,
The Techniques,
The Raincoats,
Cecil Taylor,
Massinfluence, Massinfluence, Massinfluence, Massinfluence.
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.