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 Ecuador and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1973.
I'm losing my edge.
To all the kids in Mexico City and Calgary.
I'm losing my edge to the art-school Paris 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 harpsichord 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 Urselle to the electroclash kids.
I played it at the Spitz.
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 Bootsy Collins. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Art Ensemble Of Chicago record on German import.
I heard that you have a white label of every seminal techno 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 an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Das Ding,
Barbara Tucker,
Bronski Beat,
Aloha Tigers,
The Zeros,
Girls At Our Best!,
Lyres,
Brick,
Monolake,
Buzzcocks,
Soft Machine,
Teenage Jesus and the Jerks,
Japan,
Avey Tare,
Hardrive,
Judy Mowatt,
Kauko Röyhkä ja Narttu,
Tim Buckley,
Wire,
John Holt,
MDC,
Bad Manners,
Warsaw,
Interpol,
Stereo Dub,
Wighnomy Brothers & Robag Wruhme,
Richard Hell and the Voidoids,
Pharoah Sanders,
Mandrill,
Accadde A,
The Cure,
Ultravox,
MC5,
Agent Orange,
The Men They Couldn't Hang,
Danielle Patucci,
Man Eating Sloth,
The Gun Club,
Camron Feat. Jay Z And Juelz,
Sällskapet,
The Saints,
Electric Prunes,
The Durutti Column,
Maleditus Sound,
Anakelly,
ABBA,
Todd Terry,
The Mummies,
Major Organ And The Adding Machine,
Deepchord,
Zapp,
Scrapy,
Schoolly D,
Black Moon,
Marvin Gaye,
Eric B and Rakim,
The Birthday Party,
Nils Olav,
Grandmaster Flash,
Visionaries,LMNO, T- Love & Iriscience,
Harpers Bizarre,
Desert Stars,
The Gories, The Gories, The Gories, The Gories.
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.