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 Botswana and from Paris.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Halifax 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer 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 Bob Dylan to the grunge kids.
I played it at the Hacienda.
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 Massinfluence. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Reuben Wilson 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Whodini,
The Smiths,
Rotary Connection,
Massinfluence,
Leonard Cohen,
Juan Atkins,
Scott Walker,
Visage,
Pet Shop Boys,
John Lydon,
Deakin,
The Toasters,
The Slits,
Alton Ellis,
Amon Düül,
Albert Ayler,
Flipper,
X-102,
Peter & Gordon,
Glenn Branca,
Marmalade,
Curtis Mayfield,
the Normal,
The Alarm Clocks,
Pete Rock & C.L. Smooth,
China Crisis,
Major Organ And The Adding Machine,
Funkadelic,
James White and The Blacks,
Manfred Mann's Earth Band,
Mandrill,
Kaleidoscope,
Orchestral Manoeuvres in the Dark,
Crime,
Rowland S Howard / Lydia Lunch,
Bush Tetras,
Derrick Morgan,
The Sonics,
Notorious Big And Bone Thugs,
Outsiders,
Ituana,
Heaven 17,
Althea and Donna,
Hashim,
Neu!,
The Pretty Things,
Brass Construction,
Liliput,
These Immortal Souls,
Arthur Verocai,
Archie Shepp,
Skriet,
Kas Product,
Gong,
Jacques Brel,
Bobby Hutcherson,
Morten Harket,
Pantaleimon,
Joey Negro,
The Men They Couldn't Hang,
Kerrie Biddell,
Brick,
Slave, Slave, Slave, Slave.
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.