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 Monaco and from Toronto.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1976.
I'm losing my edge.
To all the kids in Taipei and Milan.
I'm losing my edge to the art-school Lyon 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 Donald Fagen 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 Faraquet to the electroclash kids.
I played it at CBGB's.
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 The Walker Brothers. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a ABBA record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Jerry's Kids,
Gong,
Lindisfarne,
Harry Pussy,
Adolescents,
Shuggie Otis,
Davy DMX,
Glenn Branca,
Eurythmics,
The Fortunes,
Country Joe & The Fish,
Swell Maps,
Kurtis Blow,
Index,
Parry Music,
Bootsy Collins,
Cameo,
De La Soul & Jungle Brothers,
Justin Hinds & The Dominoes,
Arcadia,
Half Japanese,
cv313,
Sunsets and Hearts,
Eric Copeland,
The Fall,
The United States of America,
EPMD,
Sugar Minott,
Mission of Burma,
Pharoah Sanders,
Lizzy Mercier Descloux,
Radio Birdman,
Magazine,
The Pop Group,
8 Eyed Spy,
The Motions,
Radiopuhelimet,
Bush Tetras,
The American Breed,
The Electric Prunes,
Gang of Four,
the Slits,
Newcleus,
Jeff Lynne,
Grey Daturas,
Godley & Creme,
Soft Cell,
Sarah Menescal,
Harmonia,
Crime,
the Fania All-Stars,
Agent Orange,
Big Daddy Kane,
Popol Vuh,
Graham Central Station,
Mantronix,
London Community Gospel Choir,
This Heat,
Youth Brigade,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.