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 Cameroon and from Stockholm.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Beijing.
I'm losing my edge to the art-school Spokane 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Notorious BIG live in Amsterdam to the disco 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 Marmalade. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Kango’s Stein Massive,
The Human League,
Pussy Galore,
Saccharine Trust,
Hardrive,
Gregory Isaacs,
Suicide,
Cameo,
Silicon Teens,
June of 44,
Underground Resistance,
Glambeats Corp.,
The Motions,
the Normal,
Lucky Dragons,
Super Lover Cee & Casanova Rud,
Tom Boy,
Qualms,
Man Parrish,
Funkadelic,
The Raincoats,
Masters at Work,
Country Teasers,
Niagra,
Japan,
Gil Scott-Heron & Brian Jackson,
Sexual Harrassment,
Mo-Dettes,
Flash Fearless,
Zapp,
Rhythm & Sound,
Scion,
DJ Style,
Infiniti,
Mars,
Skriet,
Terrestrial Tones,
The Gories,
Anakelly,
Amazonics,
Electric Prunes,
Brothers Johnson,
Big Daddy Kane,
London Community Gospel Choir,
Massinfluence,
Lindisfarne,
The Standells,
Junior Murvin,
The Happenings,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Sound,
Chris Corsano,
Soulsonic Force,
Kurtis Blow,
Main Source,
Guru Guru,
Intrusion,
Pharaoh Sanders and the Fire Engines,
The Grass Roots,
Mandrill,
Ash Ra Tempel,
Ten City,
Matthew Halsall, Matthew Halsall, Matthew Halsall, Matthew Halsall.
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.