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 Croatia and from Jakarta.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school New York 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 chamberlin 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 Aaron Thompson to the jazz kids.
I played it at the Spitz.
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 Pole. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Eurythmics 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Fugazi record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Copeland,
Camberwell Now,
Be Bop Deluxe,
Joyce Sims,
the Germs,
Cabaret Voltaire,
Boredoms,
KRS-One,
In Retrospect,
Bootsy's Rubber Band,
The Techniques,
Parry Music,
The Jesus and Mary Chain,
Crooked Eye,
Ultimate Spinach,
Los Fastidios,
Brick,
Man Eating Sloth,
The Zeros,
Scrapy,
The Beau Brummels,
Scratch Acid,
Arab on Radar,
The Angels of Light,
Jerry's Kids,
Larry & the Blue Notes,
Visage,
Interpol,
Mary Jane Girls,
The Black Dice,
Public Image Ltd.,
Soulsonic Force,
Neil Young,
Eurythmics,
Echospace,
Crispian St. Peters,
John Foxx,
Amon Düül II,
Harmonia,
Outsiders,
The Evens,
Morten Harket,
Camron Feat. Memphis Bleek And Beenie Seigel,
World's Most,
The Wake,
the Soft Cell,
The New Christs,
Gerry Rafferty,
Aural Exciters,
Grandmaster Flash and the Furious Five,
Black Sheep,
Alice Coltrane,
Matthew Halsall,
The Toasters,
Johnny Osbourne,
Marc Romboy vs. Booka Shade,
Echo & the Bunnymen,
Masters at Work,
Chris Corsano,
These Immortal Souls,
Thee Headcoats,
Drexciya,
Lightning Bolt,
Louis and Bebe Barron,
Oneida, Oneida, Oneida, Oneida.
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.