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 Taiwan and from Milan.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Beijing 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare 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 Robert Wyatt to the punk kids.
I played it at Trash.
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 Cluster. All the underground hits.
All Aswad tracks. I heard you have a vinyl of every Wally Richardson 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Teenage Jesus and the Jerks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Organ,
Basic Channel,
Q65,
Franke,
June of 44,
Peter & Gordon,
Yaz,
Eve St. Jones,
Lalann,
Bob Dylan,
Depeche Mode,
Niagra,
Fluxion,
The Cramps,
Charles Mingus,
The Cure,
Super Lover Cee & Casanova Rud,
Camouflage,
The Trojans,
Whodini,
Unrelated Segments,
Thee Headcoats,
Dorothy Ashby,
Blancmange,
Amon Düül,
Black Moon,
Tommy Roe,
Warsaw,
The Durutti Column,
Man Parrish,
L. Decosne,
Eli Mardock,
Second Layer,
Nico,
Mary Jane Girls,
Soft Machine,
Scientists,
Boogie Down Productions,
Maleditus Sound,
Section 25,
Laurel Aitken,
Lucky Dragons,
Davy DMX,
In Retrospect,
Rapeman,
The Sound,
Joey Negro,
Sad Lovers and Giants,
Siglo XX,
Faust,
Gary Puckett & The Union Gap,
World's Most,
DJ Sneak,
Au Pairs,
Banda Bassotti,
Funkadelic,
Jeff Mills,
Ten City,
The Standells,
Black Flag,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.