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 Slovakia and from Portland.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
I'm losing my edge to the art-school Spokane 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Wasted Youth to the jazz 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 Mandrill. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every Soft Machine 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
The Five Americans,
the Sonics,
Eyeless In Gaza,
Roy Ayers Ubiquity,
Suicide,
Con Funk Shun,
Talk Talk,
It's A Beautiful Day,
the Swans,
Audionom,
Buzzcocks,
Interpol,
10cc,
The Standells,
Underground Resistance,
Sunsets and Hearts,
Clear Light,
Slick Rick,
Sun Ra Arkestra,
Hasil Adkins,
The Litter,
Shoche,
cv313,
Bobby Byrd,
Theoretical Girls,
Barrington Levy,
Gong,
Magma,
Q65,
Rotary Connection,
Thee Headcoats,
Bronski Beat,
Idris Muhammad,
Radiohead,
Livin' Joy,
Ohio Players,
Alton Ellis,
Radio Birdman,
The Cosmic Jokers,
Country Joe & The Fish,
Henry Cow,
Jerry Gold Smith,
Marshall Jefferson,
Jimmy McGriff,
Stiv Bators,
Arcadia,
Radiopuhelimet,
Bauhaus,
The Kinks,
The Detroit Cobras,
Reagan Youth,
Drive Like Jehu,
Oppenheimer Analysis,
Faraquet,
Y Pants,
Pagans,
Roy Ayers,
Sly & The Family Stone,
Scott Walker,
The Gun Club,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.