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 Indonesia and from Bologna.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Tehran and Portland.
I'm losing my edge to the art-school Taipei 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 güiro 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 Negative Approach to the rap 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 Minor Threat. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Lucky Dragons 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 an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Cybotron,
R.M.O.,
Crime,
Lou Reed & Metallica,
Drexciya,
Subhumans,
Lebanon Hanover,
Bobby Byrd,
Flash Fearless,
Terrestrial Tones,
The Cure,
Pylon,
The Techniques,
Ohio Players,
Susan Cadogan,
The Sonics,
Fatback Band,
The Stooges,
Silicon Teens,
Mission of Burma,
Neu!,
Skriet,
Gichy Dan,
Vainqueur,
Stetsasonic,
Inner City,
Juan Atkins,
Newcleus,
Marine Girls,
Funky Four + One,
Marc Almond,
a-ha,
Nas,
Echospace,
Thee Headcoats,
Aural Exciters,
The Monks,
E-Dancer,
Lalo Schifrin,
Darondo,
Banda Bassotti,
Ludus,
Byron Stingily,
Wally Richardson,
Das Ding,
Lafayette Afro Rock Band,
Guru Guru,
The Skatalites,
The Jesus and Mary Chain,
Isaac Hayes,
Toni Rubio,
Neil Young & Crazy Horse,
New Age Steppers,
Glambeats Corp.,
Ronan,
Kings Of Tomorrow,
Don Cherry,
Wolf Eyes,
Yusef Lateef,
CMW,
Sound Behaviour,
F. McDonald,
Loose Ends, Loose Ends, Loose Ends, Loose Ends.
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.