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 Netherlands and from Bremen.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Accra and Madrid.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the 808 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 James Chance & The Contortions to the dance 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 Dead Boys. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Roy Ayers 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 sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Sun City Girls record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Quantec,
Soul Sonic Force,
Khruangbin,
Robert Wyatt,
Siglo XX,
Peter and Kerry,
Dual Sessions,
Sandy B,
Royal Trux,
Gregory Isaacs,
Symarip,
Blossom Toes,
Laurel Aitken,
cv313,
Rekid,
Bobby Womack,
The Slackers,
Pylon,
Technova,
Desert Stars,
Deutsch Amerikanische Freundschaft,
Scan 7,
Motorama,
Avey Tare,
Rites of Spring,
Anthony Braxton,
Tomorrow,
The Toasters,
Trumans Water,
Circle Jerks,
Marcia Griffiths,
Basic Channel,
Stockholm Monsters,
Pierre Henry,
Kayak,
Duran Duran,
The Grass Roots,
Ohio Players,
Aural Exciters,
Interpol,
Swans,
T.S.O.L.,
Eric Dolphy,
Agent Orange,
The Victims,
EPMD,
Grandmaster Flash and the Furious Five,
One Last Wish,
Albert Ayler,
The Cure,
Bobby Hutcherson,
Don Cherry,
Infiniti,
Gerry Rafferty,
The Alarm Clocks,
Cabaret Voltaire,
Fatback Band,
The New Christs,
Cal Tjader,
June Days,
Magma, Magma, Magma, Magma.
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.