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 Thailand and from Cairo.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Bremen and Bologna.
I'm losing my edge to the art-school Cairo 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 harpsichord 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 Hashim to the electroclash kids.
I played it at CBGB's.
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 The Cowsills. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every The Detroit Cobras 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 an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Susan Cadogan,
The Walker Brothers,
Soulsonic Force,
ABC,
Al Stewart,
The West Coast Pop Art Experimental Band,
Idris Muhammad,
Flipper,
Todd Terry,
Ornette Coleman,
Erykah Badu,
Stetsasonic,
Crime,
Harmonia,
Jacques Brel,
Major Organ And The Adding Machine,
the Normal,
Gastr Del Sol,
The Red Krayola,
Nico,
Marshall Jefferson,
Graham Central Station,
Scott Walker,
H. Thieme,
Chrome,
The Selecter,
Rosa Yemen,
Mandrill,
James White and The Blacks,
Sparks,
Amon Düül II,
the Germs,
The Detroit Cobras,
Orchestral Manoeuvres in the Dark,
Carl Craig,
Loose Ends,
The Five Americans,
Arcadia,
Mo-Dettes,
Davy DMX,
Terrestrial Tones,
Sly & The Family Stone,
L. Decosne,
Ajijia Myrayebe,
Accadde A,
Severed Heads,
The Dirtbombs,
Parry Music,
Panda Bear,
Rahsaan Roland Kirk,
Country Joe & The Fish,
Blake Baxter,
The Smiths,
Audionom,
Monolake,
Black Sheep,
Altered Images,
Nirvana,
Alton Ellis,
Desert Stars,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.