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 Rwanda and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1978.
I'm losing my edge.
To all the kids in Accra and Houston.
I'm losing my edge to the art-school Lagos 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 Michael McDonald 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 Roy Ayers to the grime kids.
I played it at the Troubador.
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 Goldenarms. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Red Lorry Yellow Lorry,
Lou Reed & John Cale,
The Doobie Brothers,
Captain Beefheart & His Magic Band,
Glenn Branca,
Icehouse,
Gang of Four,
Ash Ra Tempel,
Max Romeo,
Chrome,
Letta Mbulu,
Model 500,
Circle Jerks,
Q and Not U,
Bang On A Can,
Anthony Braxton,
Joensuu 1685,
Hashim,
David McCallum,
Boogie Down Productions,
Davy DMX,
AZ,
Ituana,
June Days,
Henry Cow,
Blake Baxter,
Peter Gordon & Love of Life Orchestra,
Visionaries,LMNO, T- Love & Iriscience,
Rekid,
Eddi Front,
Eli Mardock,
The West Coast Pop Art Experimental Band,
The Index,
Youth Brigade,
The Moleskins,
Tom Boy,
Aaron Thompson,
The Mummies,
London Community Gospel Choir,
Gary Puckett & The Union Gap,
The Move,
Easy Going,
MC5,
Sun Ra Arkestra,
Silicon Teens,
Unrelated Segments,
A Certain Ratio,
Mr. Review,
Ultimate Spinach,
Suburban Knight,
Richard Hell and the Voidoids,
Chris & Cosey,
Matthew Halsall,
Wolf Eyes,
Eric Copeland,
Massinfluence,
Jacob Miller,
New Order,
Audionom,
Stiv Bators,
Quando Quango,
The Vogues,
World's Most,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.