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 Cambodia and from Mumbai.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Bremen.
I'm losing my edge to the art-school Winnipeg 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 synthesizer sounds with much patience.
I was there when Holger Czukay 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 Von Mondo to the rock kids.
I played it at the Troubador.
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 Sunsets and Hearts. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every The Mummies 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kerri Chandler,
Interpol,
Gang Gang Dance,
Albert Ayler,
Drive Like Jehu,
Soul II Soul,
H. Thieme,
Traffic Nightmare,
Whodini,
Supertramp,
Scott Walker,
Delon & Dalcan,
The Birthday Party,
The Flesh Eaters,
Derrick Morgan,
Boredoms,
The Vogues,
Rites of Spring,
LL Cool J,
Arab on Radar,
The Star Department,
the Sonics,
Unrelated Segments,
Cameo,
The Martian,
The Fugs,
Banda Bassotti,
Röyhkä ja Rättö ja Lehtisalo,
The Dave Clark Five,
John Holt,
Danielle Patucci,
Zero Boys,
8 Eyed Spy,
Glenn Branca,
The Fall,
Cecil Taylor,
Hashim,
The Standells,
Yaz,
Goldenarms,
Laurel Aitken,
Radiohead,
Man Eating Sloth,
Crash Course in Science,
Quando Quango,
Sun Ra,
Sällskapet,
Chris & Cosey,
Kauko Röyhkä ja Narttu,
Aswad,
Babytalk,
EPMD,
Gerry Rafferty,
The Gladiators,
Soul Sonic Force,
Susan Cadogan,
Strawberry Alarm Clock,
Subhumans,
Kenny Larkin,
Marine Girls,
The Gun Club,
Siouxsie and the Banshees,
Soft Machine,
The Residents, The Residents, The Residents, The Residents.
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.