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 Uruguay and from Edmonton.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and New York.
I'm losing my edge to the art-school Tehran 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Basic Channel to the grime 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 Derrick Morgan. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo 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?
Joey Negro,
Funkadelic,
Japan,
A Certain Ratio,
UT,
Louis and Bebe Barron,
Mr. Review,
Public Image Ltd.,
MDC,
Eve St. Jones,
Sandy B,
Derrick Morgan,
Electric Light Orchestra,
The Moleskins,
The Fortunes,
Pulsallama,
Ultra Naté,
Rotary Connection,
Nils Olav,
Echospace,
Avey Tare,
Kaleidoscope,
Leonard Cohen,
Cymande,
The Move,
Excepter,
Blancmange,
Throbbing Gristle,
The Red Krayola,
Von Mondo,
Lonnie Liston Smith,
Model 500,
Bad Manners,
June of 44,
Babytalk,
Glenn Branca,
Barbara Tucker,
The Moody Blues,
Technova,
Scratch Acid,
Davy DMX,
Bang on a Can All-Stars,
Nick Fraelich,
Amazonics,
Notorious BIG live in Amsterdam,
Neu!,
Buzzcocks,
Spandau Ballet,
New Order,
Wasted Youth,
Mad Mike,
The Index,
Country Teasers,
Aaron Thompson,
Ultramagnetic MC's,
New York Dolls,
The Cosmic Jokers,
The Buckinghams,
Black Moon,
Ash Ra Tempel,
The Skatalites,
Lyres,
Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.
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.