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 Jordan and from Shanghai.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
I'm losing my edge to the art-school Philadelphia 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the marimba 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 Marcia Griffiths to the crunk kids.
I played it at the Hacienda.
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 Negative Approach. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal techno 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 spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your snare and bought a güiro.
I hear that you and your band have sold your güiro and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Excepter,
The Birthday Party,
Section 25,
Fugazi,
Television,
Bizarre Inc.,
Minutemen,
DJ Style,
Black Flag,
The Moody Blues,
This Heat,
Michelle Simonal,
Cabaret Voltaire,
The Dirtbombs,
LL Cool J,
Duran Duran,
Joey Negro,
Tubeway Army,
Vainqueur,
The Motions,
Pantytec,
Notorious BIG live in Amsterdam,
Steve Hackett,
Buzzcocks,
Ultramagnetic MC's,
Scott Walker,
The Slackers,
Sonny Sharrock,
Cybotron,
Ash Ra Tempel,
Bang On A Can,
R.M.O.,
Country Joe & The Fish,
Chris & Cosey,
Rhythm & Sound,
Man Parrish,
Rufus Thomas,
Soft Machine,
The Offenders,
Second Layer,
Glambeats Corp.,
Magazine,
Slave,
Josef K,
Gil Scott Heron,
Moss Icon,
the Swans,
X-102,
Sam Rivers,
Yusef Lateef,
Hasil Adkins,
Icehouse,
Roxette,
Avey Tare's Slasher Flicks,
Crispy Ambulance,
Derrick May,
Piero Umiliani,
The Moleskins,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.