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 Croatia and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Bologna and London.
I'm losing my edge to the art-school Columbus 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 808 sounds with much patience.
I was there when Donald Fagen 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 Mary Jane Girls to the grime 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 Sugar Minott. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Slick Rick record on German import.
I heard that you have a white label of every seminal grunge 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 an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Jimmy McGriff,
Röyhkä ja Rättö ja Lehtisalo,
Crash Course in Science,
Japan,
Delta 5,
Ash Ra Tempel,
Sexual Harrassment,
Freddie Wadling,
Lucky Dragons,
Grandmaster Flash,
Massinfluence,
Byron Stingily,
the Sonics,
Major Organ And The Adding Machine,
X-Ray Spex,
Skriet,
Junior Murvin,
Nick Fraelich,
Justin Hinds & The Dominoes,
The Fall,
Can,
Fear,
Icehouse,
Smog,
Bobby Byrd,
Joey Negro,
Sun Ra,
Magma,
The J.B.'s,
Niagra,
Robert Hood,
Anakelly,
Mo-Dettes,
The Gap Band,
Unwound,
Ludus,
The Smoke,
Visage,
Radiopuhelimet,
The Men They Couldn't Hang,
ABBA,
Thinking Fellers Union Local 282,
Scion,
the Slits,
Todd Terry,
Piero Umiliani,
DJ Style,
Das Ding,
A Certain Ratio,
Electric Light Orchestra,
Kurtis Blow,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Offenders,
Sound Behaviour,
Saccharine Trust,
Whodini,
8 Eyed Spy,
Eric Dolphy,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.