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 Brazil and from Tehran.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Salvador and Tehran.
I'm losing my edge to the art-school Calgary 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar 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 Scratch Acid 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 Jacob Miller. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Unwound record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
The Evens,
Althea and Donna,
Cal Tjader,
The Doors,
Alison Limerick,
Stereo Dub,
Lou Christie,
Bad Manners,
Hoover,
the Sonics,
Marine Girls,
The Red Krayola,
Suburban Knight,
Minutemen,
a-ha,
Excepter,
Heaven 17,
Deadbeat,
Strawberry Alarm Clock,
the Soft Cell,
CMW,
Roy Ayers,
Main Source,
Skriet,
Andrew Hill,
Model 500,
Underground Resistance,
Todd Terry,
Unrelated Segments,
Inner City,
Malaria!,
Avey Tare's Slasher Flicks,
the Bar-Kays,
Lou Reed,
Wolf Eyes,
John Coltrane,
Big Daddy Kane,
Jerry's Kids,
Public Image Ltd.,
Rites of Spring,
Blake Baxter,
The Index,
Electric Prunes,
the Slits,
The Leaves,
Quantec,
Pole,
Half Japanese,
Desert Stars,
Dave Gahan,
Deakin,
Anakelly,
Sound Behaviour,
Justin Hinds & The Dominoes,
The Skatalites,
H. Thieme,
Franke,
Bluetip,
Mo-Dettes,
Aaron Thompson,
Ornette Coleman,
Nirvana, Nirvana, Nirvana, Nirvana.
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.