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 Mongolia and from Bologna.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Lille and Tokyo.
I'm losing my edge to the art-school Manchester 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 Tom Verlaine 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 The Angels of Light to the punk 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 Harpers Bizarre. All the underground hits.
All Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Derrick May 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Buckinghams record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Carl Craig,
Gong,
Faust,
Idris Muhammad,
Wings,
Lou Christie,
Ronnie Foster,
Public Image Ltd.,
Ossler,
Deepchord,
The Pretty Things,
Crispy Ambulance,
Camron Feat. Memphis Bleek And Beenie Seigel,
Connie Case,
Vladislav Delay,
DeepChord presents Echospace,
F. McDonald,
Deakin,
Teenage Jesus and the Jerks,
The Star Department,
Letta Mbulu,
Reuben Wilson,
Chris & Cosey,
Althea and Donna,
Kango’s Stein Massive,
Deadbeat,
Bobby Byrd,
Bang On A Can,
Albert Ayler,
Todd Terry,
Tubeway Army,
Jacques Brel,
The J.B.'s,
Pagans,
The Barracudas,
Mr. Review,
Bootsy's Rubber Band,
Mary Jane Girls,
Zero Boys,
Davy DMX,
Piero Umiliani,
The Walker Brothers,
Bronski Beat,
The Index,
Sun Ra Arkestra,
Quando Quango,
Grandmaster Flash,
Isaac Hayes,
Glenn Branca,
Liaisons Dangereuses,
Moss Icon,
A Certain Ratio,
Camouflage,
Theoretical Girls,
Grandmaster Flash and the Furious Five,
Avey Tare & Kría Brekkan,
Soulsonic Force,
Bang on a Can All-Stars,
Malaria!,
Pharoah Sanders,
Essential Logic,
Lucky Dragons, Lucky Dragons, Lucky Dragons, Lucky Dragons.
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.