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 Togo and from Beijing.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Milan and Lagos.
I'm losing my edge to the art-school Accra 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the linndrum sounds with much patience.
I was there when David Bowie 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 Eric Dolphy to the crunk kids.
I played it at Cafe Wha.
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 Arcadia. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Kaleidoscope 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 '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Sixth Finger record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
The Modern Lovers,
The Durutti Column,
Television,
Y Pants,
The Fall,
Red Lorry Yellow Lorry,
the Fania All-Stars,
Eve St. Jones,
Kango’s Stein Massive,
Saccharine Trust,
The Men They Couldn't Hang,
Pierre Henry,
The New Christs,
Marshall Jefferson,
B.T. Express,
Throbbing Gristle,
Grandmaster Flash,
Pantaleimon,
De La Soul & Jungle Brothers,
Lizzy Mercier Descloux,
Peter and Kerry,
Popol Vuh,
Mission of Burma,
Bootsy Collins,
Jesper Dahlbäck,
The American Breed,
E-Dancer,
Crime,
Black Moon,
Kerrie Biddell,
Excepter,
FM Einheit,
Infiniti,
Oppenheimer Analysis,
Ten City,
Kings Of Tomorrow,
The Invisible,
Stockholm Monsters,
Interpol,
Kool G Rap & DJ Polo,
Mars,
Harry Pussy,
The Sound,
Super Lover Cee & Casanova Rud,
Pole,
Sound Behaviour,
The Litter,
Harmonia,
It's A Beautiful Day,
Bobby Womack,
Wighnomy Brothers & Robag Wruhme,
The Music Machine,
Khruangbin,
Rufus Thomas,
Fluxion,
Susan Cadogan,
Nils Olav,
Rhythm & Sound,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.