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 Guatemala and from Bologna.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Milan and Calgary.
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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay 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 Wolf Eyes to the rap kids.
I played it at Trash.
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 Dead C. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Donald Byrd 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 '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Robert Hood record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
The Busters,
Chris Corsano,
Nik Kershaw,
Newcleus,
Crash Course in Science,
Alton Ellis,
The Music Machine,
James White and The Blacks,
Jesper Dahlbäck,
Rekid,
Faust,
Basic Channel,
Fatback Band,
The Gun Club,
The Fuzztones,
Von Mondo,
Cymande,
the Association,
Yellowson,
Ohio Players,
Ponytail,
Charles Mingus,
Ash Ra Tempel,
cv313,
Super Lover Cee & Casanova Rud,
Deutsch Amerikanische Freundschaft,
Byron Stingily,
The Gladiators,
The Remains,
Toni Rubio,
Ultramagnetic MC's,
Reagan Youth,
Patti Smith,
Kas Product,
Bauhaus,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Cosmic Jokers,
Goldenarms,
Boz Scaggs,
Underground Resistance,
Guru Guru,
Marcia Griffiths,
Magazine,
The Pop Group,
Half Japanese,
The Motions,
Amon Düül II,
In Retrospect,
Jeff Mills,
Saccharine Trust,
Scrapy,
Sam Rivers,
The Searchers,
Mission of Burma,
Negative Approach,
Stiv Bators,
Roxette,
The Zeros,
The Misunderstood,
Siglo XX,
Agent Orange, Agent Orange, Agent Orange, Agent Orange.
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.