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 New York.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Johannesburg 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 mellotron 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 Barrington Levy to the dance 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 John Coltrane. All the underground hits.
All Reuben Wilson tracks. I heard you have a vinyl of every June Days record on German import.
I heard that you have a white label of every seminal dance 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Five Americans,
Fifty Foot Hose,
The Fortunes,
Warsaw,
Todd Terry,
Patti Smith,
Sandy B,
Circle Jerks,
Pagans,
Fluxion,
Interpol,
Half Japanese,
T. Rex,
Kango’s Stein Massive,
Johnny Osbourne,
Bauhaus,
Quando Quango,
Yazoo,
Yellowson,
The Fuzztones,
Young Marble Giants,
The Associates,
Manfred Mann's Earth Band,
Rahsaan Roland Kirk,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bang on a Can All-Stars,
Quantec,
The Searchers,
Procol Harum,
Mo-Dettes,
Infiniti,
DJ Style,
Monks,
Cecil Taylor,
Judy Mowatt,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron and Jamie xx,
the Soft Cell,
Iggy Pop,
Joey Negro,
The Trojans,
Flamin' Groovies,
June Days,
Brass Construction,
Eric Copeland,
The Techniques,
Ultra Naté,
Gichy Dan,
Avey Tare & Kría Brekkan,
The Cure,
Janne Schatter,
Dr. Dre and Snoop Doggy Dog,
Joensuu 1685,
FM Einheit,
Camouflage,
Radiopuhelimet,
The Gun Club,
Dual Sessions,
Deepchord,
Super Lover Cee & Casanova Rud,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.