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 Bosnia Herzegovina and from Stockholm.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Salvador and Delhi.
I'm losing my edge to the art-school Lyon 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 arpeggiator 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 Black Moon to the grunge 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 Johnny Clarke. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Mars 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 '60s cut and another box set from the '90s.
I hear you're buying a guitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Big Daddy Kane,
Bobby Hutcherson,
It's A Beautiful Day,
Angels of Light & Akron/Family,
Pagans,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lizzy Mercier Descloux,
Sex Pistols,
Max Romeo,
Lou Reed & John Cale,
Section 25,
Neil Young & Crazy Horse,
Fluxion,
Inner City,
Underground Resistance,
Eric Copeland,
The Neon Judgement,
Heavy D & The Boyz,
Hashim,
Ultramagnetic MC's,
Scion,
Peter and Kerry,
One Last Wish,
Circle Jerks,
Tim Buckley,
Technova,
Sam Rivers,
Connie Case,
The Smiths,
Drexciya,
Alice Coltrane,
The Techniques,
Andrew Hill,
Public Image Ltd.,
Jesper Dahlbäck,
Mars,
Tomorrow,
A Flock of Seagulls,
R.M.O.,
Curtis Mayfield,
Sällskapet,
EPMD,
The Gladiators,
The Gap Band,
Soulsonic Force,
The United States of America,
John Coltrane,
Rufus Thomas,
Altered Images,
Juan Atkins,
Lou Reed & Metallica,
Severed Heads,
Crispy Ambulance,
Rowland S Howard / Lydia Lunch,
Country Teasers,
Maleditus Sound,
Ossler,
The Grass Roots,
Roxy Music,
Selector Dub Narcotic,
the Normal, the Normal, the Normal, the Normal.
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.