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 Kenya and from Mexico City.
But I was there.
I was there in .
I was there at the first Suicide 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 1962 to 1979.
I'm losing my edge.
To all the kids in Columbus and Manchester.
I'm losing my edge to the art-school Milan 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 organ 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 Flipper to the techno 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 Heavy D & The Boyz. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every Nick Fraelich 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice 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?
Magazine,
E-Dancer,
Hashim,
Sun Ra,
Soulsonic Force,
Television,
Black Moon,
Beasts of Bourbon,
MC5,
Crash Course in Science,
Kayak,
Dark Day,
Cecil Taylor,
Lalo Schifrin,
Cal Tjader,
Sister Nancy,
The Beau Brummels,
UT,
Lower 48,
Q65,
U.S. Maple,
Stereo Dub,
Sugar Minott,
Moby Grape,
Kevin Saunderson,
Boz Scaggs,
Reagan Youth,
Pharoah Sanders,
Kango’s Stein Massive,
Wolf Eyes,
Don Cherry,
Larry & the Blue Notes,
Prince Buster,
Pulsallama,
Marvin Gaye,
Gichy Dan,
Sly & The Family Stone,
The Jesus and Mary Chain,
Ralphi Rosario,
Pet Shop Boys,
Roy Ayers Ubiquity,
Liaisons Dangereuses,
The Shadows of Knight,
Ten City,
The Men They Couldn't Hang,
Rhythim Is Rhythim,
Bill Wells,
Tommy Roe,
Faust,
Henry Cow,
The Electric Prunes,
Roxette,
Eric B and Rakim,
Mo-Dettes,
Peter & Gordon,
The Sonics,
Nation of Ulysses,
Michelle Simonal,
Jesper Dahlback,
Surgeon,
Ituana,
Buzzcocks,
June of 44, June of 44, June of 44, June of 44.
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.