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 Austria and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Portland 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Lee Hazlewood to the grunge kids.
I played it at the Roxy.
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 Leonard Cohen. All the underground hits.
All The Move tracks. I heard you have a vinyl of every Sexual Harrassment 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your linndrum and bought an organ.
I hear that you and your band have sold your organ and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash and the Furious Five,
Blossom Toes,
Jandek,
A Certain Ratio,
Neu!,
The Dead C,
Rapeman,
Masters at Work,
Ultimate Spinach,
Oppenheimer Analysis,
Ituana,
T.S.O.L.,
R.M.O.,
Gong,
Oblivians,
Chrome,
The Selecter,
Super Lover Cee & Casanova Rud,
Rekid,
Maleditus Sound,
The Monochrome Set,
Radiopuhelimet,
Loose Ends,
Procol Harum,
Todd Terry,
the Slits,
David Bowie,
Wolf Eyes,
Mark Hollis,
Camouflage,
Banda Bassotti,
Sexual Harrassment,
Neil Young & Crazy Horse,
Desert Stars,
T. Rex,
Soul II Soul,
Parry Music,
The Electric Prunes,
Vaughan Mason & Crew,
Zapp,
Delon & Dalcan,
Crooked Eye,
Kevin Saunderson,
Sly & The Family Stone,
John Cale,
Richard Hell and the Voidoids,
Visage,
The Associates,
Jesper Dahlbäck,
Negative Approach,
Boredoms,
Sun Ra Arkestra,
The Tremeloes,
Notorious Big And Bone Thugs,
Monks,
Marcia Griffiths,
Davy DMX,
Radiohead,
Grey Daturas,
The United States of America,
The Zeros,
Big Daddy Kane,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.