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 Botswana and from Hong Kong.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1965 to 1976.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Stockholm 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Bob Dylan to the rock kids.
I played it at the Hacienda.
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 Funky Four + One. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every The Divine Comedy 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba 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?
Robert Hood,
Arcadia,
Theoretical Girls,
Pet Shop Boys,
The Dead C,
Cabaret Voltaire,
Saccharine Trust,
Donny Hathaway,
The Cowsills,
The Skatalites,
Lindisfarne,
The Blackbyrds,
Porter Ricks,
Johnny Clarke,
Big Daddy Kane,
Basic Channel,
Goldenarms,
New York Dolls,
The United States of America,
The J.B.'s,
The Doobie Brothers,
U.S. Maple,
The Selecter,
Shuggie Otis,
Kool Moe Dee,
Junior Murvin,
Rhythm & Sound,
Bluetip,
Electric Prunes,
Slick Rick,
Nils Olav,
Lebanon Hanover,
These Immortal Souls,
Pete Rock & C.L. Smooth,
The Pretty Things,
Mad Mike,
Unwound,
The Index,
The Mighty Diamonds,
The Seeds,
Radiohead,
Pharaoh Sanders and the Fire Engines,
Brothers Johnson,
Hardrive,
Man Parrish,
Fluxion,
Ossler,
Wighnomy Brothers & Robag Wruhme,
Echo & the Bunnymen,
Tropical Tobacco,
Camberwell Now,
Groovy Waters,
The Sisters of Mercy,
Chris Corsano,
Aural Exciters,
Pierre Henry,
Skarface,
Joy Division,
The Smoke,
Roxette,
The Chocolate Watch Band,
Lizzy Mercier Descloux,
CMW,
Avey Tare,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.