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 Belize and from London.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Bologna.
I'm losing my edge to the art-school Edmonton 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 harpsichord 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 Peter and Kerry to the grunge kids.
I played it at the Astoria.
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 Mad Mike. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Kerri Chandler record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
R.M.O.,
The Divine Comedy,
Cluster,
Brand Nubian,
Brothers Johnson,
Joensuu 1685,
Mary Jane Girls,
Oblivians,
Underground Resistance,
Wire,
Kango’s Stein Massive,
Beasts of Bourbon,
Absolute Body Control,
Buzzcocks,
Hot Snakes,
Essential Logic,
Ornette Coleman,
The Birthday Party,
The Beau Brummels,
Fat Boys,
Sonny Sharrock,
Hashim,
Accadde A,
Stereo Dub,
Jimmy McGriff,
Lindisfarne,
Trumans Water,
The Slackers,
Visage,
New Order,
The Motions,
Black Sheep,
EPMD,
Franke,
Crispian St. Peters,
Anakelly,
Todd Terry,
Kenny Larkin,
Bush Tetras,
Brass Construction,
The Young Rascals,
Camberwell Now,
Mars,
Swell Maps,
Scott Walker,
Röyhkä ja Rättö ja Lehtisalo,
Rapeman,
Audionom,
Barry Ungar,
In Retrospect,
Eve St. Jones,
The Offenders,
Sun City Girls,
Nils Olav,
Gil Scott Heron,
Sister Nancy,
D'Angelo,
Pussy Galore,
Grandmaster Flash,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.