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 Cuba and from Mexico City.
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 1973.
I'm losing my edge.
To all the kids in Mumbai and Taipei.
I'm losing my edge to the art-school Seoul 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Soft Machine to the electroclash kids.
I played it at Cafe Wha.
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 Inner City. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Oppenheimer Analysis record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
MC5,
Excepter,
The Fugs,
Minor Threat,
The Blackbyrds,
Wings,
Urselle,
New Order,
Blossom Toes,
Peter & Gordon,
Stereo Dub,
Jeff Mills,
James Chance & The Contortions,
Young Marble Giants,
Lee Hazlewood,
The Moleskins,
Eurythmics,
Anakelly,
Aural Exciters,
Ludus,
Flipper,
Cymande,
The Fire Engines,
Kerri Chandler,
The Names,
Quando Quango,
The Blues Magoos,
The Golliwogs,
Chris & Cosey,
Matthew Halsall,
Alice Coltrane,
Ajijia Myrayebe,
Joy Division,
Man Parrish,
Isaac Hayes,
Louis and Bebe Barron,
Beasts of Bourbon,
Blake Baxter,
Chrome,
Scion,
Cecil Taylor,
Ornette Coleman,
Zapp,
Gil Scott-Heron & Brian Jackson,
Pet Shop Boys,
Gang of Four,
Rites of Spring,
Franke,
Bush Tetras,
Dennis Brown,
Drive Like Jehu,
KRS-One,
Donald Byrd,
A Flock of Seagulls,
Stiv Bators,
Sandy B,
Simply Red,
Gil Scott Heron,
The Knickerbockers,
FM Einheit,
Chris Corsano,
Marc Romboy vs. Booka Shade,
Ten City,
ABC, ABC, ABC, ABC.
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.