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 Japan and from Spokane.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Spokane and Paris.
I'm losing my edge to the art-school Manchester 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 theremin 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 Fluxion to the rap kids.
I played it at the Crocodile.
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 A Flock of Seagulls. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every the Association record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Seeds,
Fatback Band,
Sexual Harrassment,
Moby Grape,
Marmalade,
Fluxion,
Dead Boys,
Black Moon,
Black Bananas,
Terry Callier,
Main Source,
Matthew Halsall,
Major Organ And The Adding Machine,
Soft Cell,
Dorothy Ashby,
the Human League,
The Fire Engines,
Porter Ricks,
10cc,
Isaac Hayes,
Man Eating Sloth,
The Jesus and Mary Chain,
Lightning Bolt,
Andrew Ashong & Theo Parrish,
Silicon Teens,
Eyeless In Gaza,
The Knickerbockers,
Röyhkä ja Rättö ja Lehtisalo,
Amazonics,
The Dirtbombs,
Spoonie Gee,
Pet Shop Boys,
Kauko Röyhkä ja Narttu,
The Names,
Frankie Knuckles,
Magma,
The Techniques,
Pulsallama,
Urselle,
DNA,
Eric Dolphy,
Chris & Cosey,
Peter Gordon & Love of Life Orchestra,
The Pretty Things,
Shoche,
Fear,
Swans,
Tom Boy,
Grandmaster Flash,
Make Up,
Pharaoh Sanders and the Fire Engines,
Iggy Pop,
The Real Kids,
The Vogues,
Lakeside,
Cheater Slicks,
Neil Young,
New York Dolls,
Joy Division,
The Gories,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.