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 Uruguay and from Lagos.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1961 to 1976.
I'm losing my edge.
To all the kids in Toronto and Jakarta.
I'm losing my edge to the art-school Jakarta 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 linndrum 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 Graham Central Station to the grunge kids.
I played it at the Crocodile.
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 Can. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Technova 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 chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Terry Callier record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Jeru the Damaja,
Siglo XX,
Fat Boys,
Schoolly D,
Sparks,
The Wake,
Roxette,
The American Breed,
Brass Construction,
Ultra Naté,
Avey Tare,
Scan 7,
Index,
Alison Limerick,
The Mojo Men,
The Jesus and Mary Chain,
The Modern Lovers,
Dave Gahan,
Masters at Work,
Roger Hodgson,
the Swans,
the Slits,
Pierre Henry,
World's Most,
Piero Umiliani,
Qualms,
Faraquet,
The Fire Engines,
Marvin Gaye,
Fluxion,
Cal Tjader,
Half Japanese,
Minutemen,
Joyce Sims,
David Axelrod,
Sugar Minott,
Pussy Galore,
The Saints,
Mandrill,
X-Ray Spex,
Cymande,
Agent Orange,
The Litter,
Dr. Dre and Snoop Doggy Dog,
Talk Talk,
Faust,
Colin Newman,
Brothers Johnson,
Terrestrial Tones,
Massinfluence,
Kaleidoscope,
Strawberry Alarm Clock,
Wasted Youth,
Lafayette Afro Rock Band,
Spoonie Gee,
LL Cool J,
Kayak,
James Chance & The Contortions,
The Black Dice, The Black Dice, The Black Dice, The Black Dice.
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.