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 Nauru and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Houston 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Moebius to the funk kids.
I played it at the Crocodile.
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 The Kinks. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eden Ahbez record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Grauzone,
The United States of America,
Moby Grape,
Matthew Halsall,
Guru Guru,
Amazonics,
Jeff Mills,
The Evens,
A Flock of Seagulls,
Soft Cell,
The Cramps,
Teenage Jesus and the Jerks,
The Stooges,
Jacques Brel,
Ralphi Rosario,
LL Cool J,
The Dirtbombs,
The Leaves,
Echospace,
Buzzcocks,
Stetsasonic,
Lindisfarne,
Das Ding,
Throbbing Gristle,
Cluster,
The Real Kids,
This Heat,
Amon Düül II,
The Vogues,
Sandy B,
H. Thieme,
X-102,
Joe Finger,
Black Flag,
Electric Prunes,
Dawn Penn,
the Slits,
Ponytail,
One Last Wish,
Spandau Ballet,
Andrew Ashong & Theo Parrish,
Ultramagnetic MC's,
Monks,
Sixth Finger,
Brothers Johnson,
Arthur Verocai,
Carl Craig,
Pantytec,
Interpol,
Ash Ra Tempel,
Cymande,
Crispian St. Peters,
Eric Dolphy,
Fluxion,
Lucky Dragons,
Country Joe & The Fish,
the Human League,
Slave,
EPMD,
Pole,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.