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 St Kitts & Nevis and from Jakarta.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Calgary and Jakarta.
I'm losing my edge to the art-school Spokane 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 marimba 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 The Gun Club to the crunk kids.
I played it at the Spitz.
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 Q65. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Johnny Osbourne record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Minny Pops,
the Human League,
The Black Dice,
Sparks,
Slave,
John Lydon,
Donny Hathaway,
Anakelly,
The Walker Brothers,
Avey Tare's Slasher Flicks,
Siglo XX,
Yusef Lateef,
Public Enemy,
Scion,
Sex Pistols,
Liliput,
Piero Umiliani,
Monolake,
Barclay James Harvest,
The Shadows of Knight,
Throbbing Gristle,
Youth Brigade,
Darondo,
Bobbi Humphrey,
Heavy D & The Boyz,
Hasil Adkins,
Drive Like Jehu,
Simply Red,
The Modern Lovers,
Ash Ra Tempel,
Frankie Knuckles,
Pussy Galore,
Barry Ungar,
Public Image Ltd.,
Dennis Brown,
Joy Division,
John Holt,
Judy Mowatt,
Avey Tare,
Derrick Morgan,
Second Layer,
Maleditus Sound,
Jacob Miller,
Bronski Beat,
Lonnie Liston Smith,
Röyhkä ja Rättö ja Lehtisalo,
The Selecter,
LL Cool J,
Derrick May,
New Order,
Glenn Branca,
Strawberry Alarm Clock,
Andrew Hill,
Bang On A Can,
Justin Hinds & The Dominoes,
Reuben Wilson,
Neu!,
Manfred Mann's Earth Band,
Swans, Swans, Swans, Swans.
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.