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 Sweden and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Manchester and Accra.
I'm losing my edge to the art-school Mexico City 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Kango’s Stein Massive to the rap kids.
I played it at the 40 Watt.
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 Pylon. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Hasil Adkins record on German import.
I heard that you have a white label of every seminal disco 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Prince Buster,
Panda Bear,
Gang of Four,
The Litter,
Royal Trux,
Johnny Osbourne,
Be Bop Deluxe,
Red Lorry Yellow Lorry,
Pierre Henry,
Major Organ And The Adding Machine,
Terrestrial Tones,
Peter Gordon & Love of Life Orchestra,
Lyres,
The Gladiators,
Scientists,
Siouxsie and the Banshees,
Index,
Pagans,
The Kinks,
The Monks,
Delon & Dalcan,
Los Fastidios,
Radiopuhelimet,
Pere Ubu,
The Barracudas,
This Heat,
Section 25,
John Cale,
Organ,
Anthony Braxton,
Traffic Nightmare,
Brick,
Shuggie Otis,
Blossom Toes,
Dead Boys,
Bronski Beat,
Gregory Isaacs,
Black Moon,
Notorious Big And Bone Thugs,
Moss Icon,
Aloha Tigers,
Roxy Music,
These Immortal Souls,
Nirvana,
Ossler,
Bob Dylan,
Tropical Tobacco,
Jesper Dahlbäck,
Kool Moe Dee,
Heaven 17,
Freddie Wadling,
The Dirtbombs,
The Toasters,
Lower 48,
Alphaville,
The Cure,
Matthew Halsall,
Motorama,
Smog,
Franke,
Grandmaster Flash and the Furious Five,
Rakim, Rakim, Rakim, Rakim.
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.