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 Kosovo and from Salvador.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
I'm losing my edge to the art-school Cairo 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 The Martian to the dance 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 Con Funk Shun. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Lou Reed 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 '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Grass Roots,
Magazine,
Ornette Coleman,
Vaughan Mason & Crew,
John Lydon,
Idris Muhammad,
Brick,
John Cale,
Nirvana,
Negative Approach,
Soulsonic Force,
The Motions,
Ten City,
Kango’s Stein Massive,
Amazonics,
The Gories,
Gabor Szabo,
Skriet,
Nation of Ulysses,
The Alarm Clocks,
Gian Franco Pienzio,
The Fuzztones,
Gil Scott-Heron and Jamie xx,
The Kinks,
Red Lorry Yellow Lorry,
The Litter,
Bush Tetras,
Nico,
Lou Reed & Metallica,
Echo & the Bunnymen,
Chris & Cosey,
Interpol,
Mission of Burma,
Japan,
The Sisters of Mercy,
Strawberry Alarm Clock,
Trumans Water,
Gil Scott-Heron & Brian Jackson,
Sun Ra Arkestra,
Lungfish,
These Immortal Souls,
Röyhkä ja Rättö ja Lehtisalo,
Robert Hood,
Gary Puckett & The Union Gap,
Amon Düül II,
The Index,
Rapeman,
Harpers Bizarre,
Eyeless In Gaza,
The Real Kids,
Cal Tjader,
Panda Bear,
Soft Cell,
Warren Ellis,
Dead Boys,
Skaos,
Sam Rivers,
The Leaves,
Unrelated Segments,
The Raincoats,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Gang Starr, Gang Starr, Gang Starr, Gang Starr.
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.