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 Guatemala and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Bologna.
I'm losing my edge to the art-school Edmonton 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Desert Stars 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 Monolake. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every D'Angelo 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your sitar and bought a guitar.
I hear that you and your band have sold your guitar and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Main Source,
Sad Lovers and Giants,
Gerry Rafferty,
Throbbing Gristle,
The Associates,
the Association,
Cabaret Voltaire,
Adolescents,
Dorothy Ashby,
The Doors,
Qualms,
Saccharine Trust,
Nils Olav,
Liliput,
Camron Feat. Memphis Bleek And Beenie Seigel,
Chris Corsano,
Darondo,
Newcleus,
Pharaoh Sanders and the Fire Engines,
Kauko Röyhkä ja Narttu,
Ultravox,
The Black Dice,
Visionaries,LMNO, T- Love & Iriscience,
Metal Thangz,
Depeche Mode,
Kool Moe Dee,
A Certain Ratio,
Boz Scaggs,
Joey Negro,
Eli Mardock,
Skaos,
Wire,
The Fall,
The West Coast Pop Art Experimental Band,
Bill Wells,
Pantaleimon,
Crispian St. Peters,
This Heat,
Delon & Dalcan,
Roger Hodgson,
The Fortunes,
K-Klass,
Niagra,
Circle Jerks,
Stereo Dub,
Fatback Band,
The Birthday Party,
Archie Shepp,
Jesper Dahlback,
the Bar-Kays,
China Crisis,
Lindisfarne,
Gil Scott-Heron and Jamie xx,
The Angels of Light,
Hot Snakes,
Urselle,
Accadde A,
Kenny Larkin,
Sixth Finger,
Angels of Light & Akron/Family,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.