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 South Sudan and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Milan and Accra.
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 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 Robert Palmer 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 Mandrill to the rock kids.
I played it at the Crocodile.
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 Hot Snakes. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Simply Red record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Audionom,
The Mojo Men,
the Slits,
Lucky Dragons,
Be Bop Deluxe,
Quantec,
U.S. Maple,
Severed Heads,
Goldenarms,
Zapp,
The Fugs,
DeepChord presents Echospace,
Glenn Branca,
Kings Of Tomorrow,
the Germs,
Eric Copeland,
Dual Sessions,
Avey Tare,
Scrapy,
Masters at Work,
The Cosmic Jokers,
Idris Muhammad,
David Axelrod,
Piero Umiliani,
the Normal,
8 Eyed Spy,
Grauzone,
Wighnomy Brothers & Robag Wruhme,
Spandau Ballet,
John Lydon,
Ituana,
Black Bananas,
Henry Cow,
Rhythim Is Rhythim,
Joy Division,
The Real Kids,
Arthur Verocai,
Davy DMX,
Rahsaan Roland Kirk,
Mr. Review,
Lightning Bolt,
Mission of Burma,
Jawbox,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
James White and The Blacks,
Andrew Ashong & Theo Parrish,
Eddi Front,
The Peanut Butter Conspiracy,
Jacob Miller,
Anakelly,
Barclay James Harvest,
Bang On A Can,
Joe Finger,
Underground Resistance,
Essential Logic,
Marine Girls,
Electric Light Orchestra,
Black Flag,
Bad Manners,
Fifty Foot Hose,
Kauko Röyhkä ja Narttu,
The Smiths,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.