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 Azerbaijan and from Madrid.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Bremen and Calgary.
I'm losing my edge to the art-school Stockholm 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Juan Atkins to the crunk kids.
I played it at Cafe Wha.
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 Jesper Dahlbäck. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Robert Görl 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 '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Quadrant record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
Visionaries,LMNO, T- Love & Iriscience,
L. Decosne,
Kool G Rap & DJ Polo,
Bootsy's Rubber Band,
Drive Like Jehu,
Quantec,
Basic Channel,
Tommy Roe,
John Coltrane,
Smog,
The Birthday Party,
Thee Headcoats,
A Certain Ratio,
The Victims,
Cabaret Voltaire,
Throbbing Gristle,
Avey Tare & Kría Brekkan,
Barrington Levy,
Barbara Tucker,
Girls At Our Best!,
ABC,
Boogie Down Productions,
The Gories,
Royal Trux,
The Velvet Underground,
Darondo,
Gichy Dan,
Reagan Youth,
The Zeros,
Connie Case,
The Martian,
Bobby Sherman,
Crash Course in Science,
Das Ding,
K-Klass,
Zero Boys,
Scion,
Von Mondo,
Harmonia,
Flipper,
Sunsets and Hearts,
The Blues Magoos,
Davy DMX,
Erykah Badu,
Massinfluence,
Josef K,
Intrusion,
Negative Approach,
Slick Rick,
Roxette,
Roy Ayers Ubiquity,
The American Breed,
Ohio Players,
Michelle Simonal,
Kerri Chandler,
Guru Guru,
Selector Dub Narcotic,
Gabor Szabo,
H. Thieme,
Alison Limerick,
Freddie Wadling,
Icehouse,
Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe, Ajijia Myrayebe.
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.