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 Fiji and from Philadelphia.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Halifax 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 synthesizer 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 Eve St. Jones to the electroclash 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 Rufus Thomas. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Nation of Ulysses 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 '80s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Avey Tare's Slasher Flicks,
Gichy Dan,
Index,
The Buckinghams,
K-Klass,
Vladislav Delay,
Delta 5,
The Gun Club,
Kango’s Stein Massive,
The Jesus and Mary Chain,
Harmonia,
Morten Harket,
EPMD,
Notorious Big And Bone Thugs,
The Invisible,
Yellowson,
The J.B.'s,
Danielle Patucci,
Josef K,
Thee Headcoats,
R.M.O.,
Hardrive,
The Neon Judgement,
Eric B and Rakim,
Pagans,
Ronnie Foster,
Sam Rivers,
Wally Richardson,
Camouflage,
Robert Wyatt,
The Last Poets,
Matthew Bourne,
Ponytail,
June Days,
Model 500,
Electric Light Orchestra,
Deadbeat,
Simply Red,
The Dave Clark Five,
Spandau Ballet,
Kool G Rap & DJ Polo,
Glambeats Corp.,
Kas Product,
Bad Manners,
Lucky Dragons,
Freddie Wadling,
Hot Snakes,
Fat Boys,
Television,
Lindisfarne,
Bill Wells,
Wighnomy Brothers & Robag Wruhme,
The Barracudas,
Eric Dolphy,
Unwound,
DeepChord presents Echospace,
The Associates,
Lou Reed,
Cameo,
Arthur Verocai,
Nas, Nas, Nas, Nas.
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.