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 Nicaragua and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 Milan and Beijing.
I'm losing my edge to the art-school Woodstock 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Can to the rap kids.
I played it at the Troubador.
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 Unrelated Segments. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echospace,
Lizzy Mercier Descloux,
T. Rex,
Stiv Bators,
Rotary Connection,
Public Enemy,
The Blues Magoos,
Dr. Dre and Snoop Doggy Dog,
Juan Atkins,
Porter Ricks,
Sly & The Family Stone,
Sunsets and Hearts,
Arab on Radar,
James Chance & The Contortions,
Icehouse,
Boredoms,
June of 44,
The Invisible,
Blake Baxter,
Negative Approach,
The Sisters of Mercy,
Sonny Sharrock,
Fluxion,
UT,
The Angels of Light,
Wighnomy Brothers & Robag Wruhme,
Surgeon,
Roger Hodgson,
Kayak,
Ultimate Spinach,
Derrick May,
Nick Fraelich,
Can,
Derrick Morgan,
The Searchers,
The Real Kids,
Mary Jane Girls,
Radiohead,
Kurtis Blow,
Rakim,
Sonic Youth,
Jeru the Damaja,
Camouflage,
The Selecter,
Yellowson,
Cybotron,
Delta 5,
The Monochrome Set,
Skriet,
Jeff Mills,
AZ,
Rhythim Is Rhythim,
Babytalk,
Groovy Waters,
Q65,
a-ha,
Grandmaster Flash and the Furious Five,
R.M.O.,
Agitation Free,
John Cale,
Swans, Swans, Swans, Swans.
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.