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 Guatemala and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Edmonton and Winnipeg.
I'm losing my edge to the art-school Bologna 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 David Bowie 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 The Fall to the techno 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 Brothers Johnson. All the underground hits.
All Loose Ends tracks. I heard you have a vinyl of every One Last Wish 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 '50s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
Terror Squad Feat. Camron,
Chris & Cosey,
Avey Tare's Slasher Flicks,
Subhumans,
Soft Machine,
Don Cherry,
Motorama,
Pole,
Lucky Dragons,
U.S. Maple,
Gregory Isaacs,
Colin Newman,
The Move,
Crash Course in Science,
EPMD,
Con Funk Shun,
Angels of Light & Akron/Family,
Bronski Beat,
Monks,
Fort Wilson Riot,
Sticky Fingaz feat. Raekwon,
The Fuzztones,
Brothers Johnson,
Arcadia,
Orchestral Manoeuvres in the Dark,
Glenn Branca,
Thompson Twins,
Traffic Nightmare,
Bauhaus,
The Mighty Diamonds,
Malaria!,
Aswad,
Sly & The Family Stone,
The New Christs,
The Motions,
David McCallum,
Johnny Osbourne,
Slick Rick,
Hasil Adkins,
London Community Gospel Choir,
Echospace,
Gerry Rafferty,
Erasure,
The Birthday Party,
Mars,
One Last Wish,
Joy Division,
A Certain Ratio,
Tommy Roe,
Liaisons Dangereuses,
Soul II Soul,
Curtis Mayfield,
Bobby Sherman,
Swans,
Marine Girls,
Funkadelic,
The Fortunes,
The Doobie Brothers,
Pet Shop Boys,
The Grass Roots,
Duran Duran,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.