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 Israel and from Delhi.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Houston and Manila.
I'm losing my edge to the art-school Columbus 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the arpeggiator 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 Darondo to the rap kids.
I played it at the Spitz.
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 Electric Prunes. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal grime 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-Ray Spex,
Fugazi,
Donald Byrd,
Rowland S Howard / Lydia Lunch,
Kool G Rap & DJ Polo,
Crash Course in Science,
Man Eating Sloth,
Black Pus,
Pole,
Joe Smooth,
Mantronix,
Strawberry Alarm Clock,
Heavy D & The Boyz,
Barbara Tucker,
Jacob Miller,
Todd Rundgren,
MC5,
R.M.O.,
Joe Finger,
Hoover,
La Düsseldorf,
Monolake,
Mark Hollis,
Monks,
Sun Ra,
Graham Central Station,
Black Moon,
the Bar-Kays,
Angry Samoans,
Cybotron,
Camron Feat. Jay Z And Juelz,
Brick,
Pierre Henry,
Notorious BIG live in Amsterdam,
Eric Copeland,
Bobby Sherman,
Can,
Deutsch Amerikanische Freundschaft,
Johnny Osbourne,
Gong,
Crime,
Connie Case,
These Immortal Souls,
Girls At Our Best!,
Colin Newman,
Kerrie Biddell,
10cc,
Electric Light Orchestra,
The Tremeloes,
Marc Romboy vs. Booka Shade,
Bobby Womack,
Albert Ayler,
Matthew Halsall,
Liaisons Dangereuses,
Japan,
Lou Reed & John Cale,
the Association,
JFA,
Interpol,
Parry Music,
Malaria!,
Al Stewart,
The Doors, The Doors, The Doors, The Doors.
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.