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 Venezuela and from Taipei.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Edmonton.
I'm losing my edge to the art-school Copenhagen 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 Lewis practice in a loft in Vancouver.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Moby Grape to the disco 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 Urselle. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Half Japanese 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 '80s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
Flamin' Groovies,
Pierre Henry,
LL Cool J,
Pussy Galore,
Hasil Adkins,
Aloha Tigers,
Kas Product,
Eric B and Rakim,
Sad Lovers and Giants,
The Doors,
Lonnie Liston Smith,
The Associates,
Sister Nancy,
The Cosmic Jokers,
Loose Ends,
the Fania All-Stars,
Chrome,
Kool Moe Dee,
Crispian St. Peters,
Underground Resistance,
Lakeside,
Little Man,
Harpers Bizarre,
Notorious BIG live in Amsterdam,
Notorious Big And Bone Thugs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Mark Hollis,
Section 25,
Lower 48,
Quantec,
Nas,
MC5,
The Buckinghams,
Marine Girls,
Charles Mingus,
Bill Near,
Alison Limerick,
Von Mondo,
The J.B.'s,
Monolake,
Silicon Teens,
The Fire Engines,
Public Enemy,
Bill Wells,
The Evens,
Nation of Ulysses,
Major Organ And The Adding Machine,
Girls At Our Best!,
Monks,
Tomorrow,
Roy Ayers,
Cabaret Voltaire,
Dawn Penn,
Soul Sonic Force,
The Sisters of Mercy,
DJ Sneak,
the Germs,
Tommy Roe,
Erasure,
Mandrill,
Grauzone,
Jacques Brel,
B.T. Express,
Arthur Verocai,
The Move, The Move, The Move, The Move.
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.