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 Namibia and from Winnipeg.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 Jakarta and Spokane.
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 spring reverb 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 Camron Feat. Jay Z And Juelz to the grime 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 Interpol. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anthony Braxton,
Oppenheimer Analysis,
Throbbing Gristle,
The Dead C,
The Monks,
Marmalade,
Babytalk,
Erykah Badu,
Sex Pistols,
Larry & the Blue Notes,
Con Funk Shun,
Country Teasers,
Deakin,
Fear,
Bobby Hutcherson,
Bush Tetras,
Hasil Adkins,
Ossler,
Erasure,
X-101,
Talk Talk,
Avey Tare,
The Gun Club,
Surgeon,
Bang on a Can All-Stars,
the Normal,
T.S.O.L.,
John Lydon,
Interpol,
Jeff Mills,
Rufus Thomas,
Second Layer,
Nick Fraelich,
The Gories,
New Age Steppers,
Ronnie Foster,
Morten Harket,
Delta 5,
Jacob Miller,
Pantaleimon,
Public Enemy,
New Order,
The Smiths,
Rekid,
Todd Rundgren,
Drive Like Jehu,
Oneida,
Radio Birdman,
The Leaves,
Man Eating Sloth,
Desert Stars,
A Certain Ratio,
The Dirtbombs,
Spoonie Gee,
Grauzone,
Cameo,
Mandrill,
Rhythim Is Rhythim,
Symarip,
Skaos,
Susan Cadogan,
Hot Snakes,
London Community Gospel Choir,
Roxette, Roxette, Roxette, Roxette.
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.