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 Nauru and from Hong Kong.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Paris and Milan.
I'm losing my edge to the art-school Woodstock 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer 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 R.M.O. to the rap kids.
I played it at the Roxy.
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 Essential Logic. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Notorious Big And Bone Thugs,
Outsiders,
Nick Cave & The Bad Seeds,
Tomorrow,
Rhythim Is Rhythim,
Brothers Johnson,
Qualms,
Japan,
The Monks,
kango's stein massive,
Banda Bassotti,
Kevin Saunderson,
The Blackbyrds,
Glambeats Corp.,
Quadrant,
Yaz,
Roy Ayers Ubiquity,
Altered Images,
Richard Hell and the Voidoids,
Fifty Foot Hose,
Fluxion,
Kayak,
Basic Channel,
Gang Gang Dance,
Man Parrish,
Siouxsie and the Banshees,
Frankie Knuckles,
Marmalade,
Avey Tare,
Andrew Hill,
Pierre Henry,
Visage,
Suburban Knight,
The Mojo Men,
Scott Walker,
DeepChord presents Echospace,
the Sonics,
Piero Umiliani,
Heavy D & The Boyz,
Lucky Dragons,
Monolake,
Moss Icon,
JFA,
John Lydon,
Bizarre Inc.,
The Men They Couldn't Hang,
Rotary Connection,
Young Marble Giants,
Zero Boys,
Sound Behaviour,
Barbara Tucker,
New Age Steppers,
Arab on Radar,
Jacques Brel,
Todd Terry,
the Association,
Mars,
The Neon Judgement,
Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan, Avey Tare & Kría Brekkan.
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.