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 Azerbaijan and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Portland 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 Michael McDonald 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 Fear to the jazz 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 Kurtis Blow. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Minutemen record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Qualms,
The J.B.'s,
Metal Thangz,
Dual Sessions,
Freddie Wadling,
Icehouse,
Shoche,
The Invisible,
Junior Murvin,
Grandmaster Flash,
the Human League,
Bootsy's Rubber Band,
The American Breed,
Theoretical Girls,
Eurythmics,
Crispy Ambulance,
David McCallum,
Lafayette Afro Rock Band,
Accadde A,
Dave Gahan,
Andrew Hill,
Tres Demented,
Rhythm & Sound,
Arcadia,
Notorious Big And Bone Thugs,
Liaisons Dangereuses,
In Retrospect,
Deakin,
Derrick May,
Bauhaus,
Wings,
Fugazi,
Lebanon Hanover,
Spandau Ballet,
The Music Machine,
Chris & Cosey,
Byron Stingily,
Public Image Ltd.,
The Young Rascals,
Masters at Work,
Von Mondo,
Godley & Creme,
The Move,
David Axelrod,
Panda Bear,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lou Reed,
Chrome,
Sticky Fingaz feat. Raekwon,
Dead Boys,
Girls At Our Best!,
Dawn Penn,
Lizzy Mercier Descloux,
Pylon,
Moby Grape,
Flipper,
Barbara Tucker,
The Shadows of Knight, The Shadows of Knight, The Shadows of Knight, The Shadows of Knight.
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.