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 Bhutan and from Accra.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
I'm losing my edge to the art-school Copenhagen 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 harpsichord 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 Sight & Sound to the punk 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 Marshall Jefferson. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Bootsy's Rubber Band,
The West Coast Pop Art Experimental Band,
Heaven 17,
Bang on a Can All-Stars,
Major Organ And The Adding Machine,
The Shadows of Knight,
Zapp,
Harpers Bizarre,
EPMD,
Jesper Dahlback,
Arcadia,
Hot Snakes,
Kas Product,
Young Marble Giants,
Sound Behaviour,
Fad Gadget,
Youth Brigade,
Public Enemy,
Davy DMX,
Orchestral Manoeuvres in the Dark,
Joy Division,
The Five Americans,
Todd Rundgren,
Siglo XX,
Moby Grape,
Sun City Girls,
The Moleskins,
L. Decosne,
Suburban Knight,
Japan,
Harmonia,
The Moody Blues,
Donny Hathaway,
Matthew Bourne,
Rhythm & Sound,
The Monochrome Set,
Gang of Four,
Junior Murvin,
Scratch Acid,
H. Thieme,
Visage,
Mandrill,
Massinfluence,
KRS-One,
Brass Construction,
Gong,
Yusef Lateef,
Black Sheep,
Roy Ayers,
Sex Pistols,
Heavy D & The Boyz,
Kurtis Blow,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bill Wells,
Cal Tjader,
CMW,
Sister Nancy,
Ten City,
Nico,
Chrome,
Godley & Creme,
Minutemen, Minutemen, Minutemen, Minutemen.
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.