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 Azerbaijan and from Lyon.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Woodstock 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 2001 at the first Tiga practice in a loft in Montreal.
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 Crime to the rap kids.
I played it at CBGB's.
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 Intrusion. All the underground hits.
All CMW tracks. I heard you have a vinyl of every A Certain Ratio 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 '80s cut and another box set from the '80s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Blake Baxter,
Malaria!,
The New Christs,
X-Ray Spex,
The West Coast Pop Art Experimental Band,
Ash Ra Tempel,
Wighnomy Brothers & Robag Wruhme,
The Pretty Things,
Red Lorry Yellow Lorry,
Man Eating Sloth,
Matthew Halsall,
CMW,
Pylon,
Nico,
John Foxx,
Bang On A Can,
Joensuu 1685,
Maleditus Sound,
Main Source,
Radiopuhelimet,
The Peanut Butter Conspiracy,
A Certain Ratio,
The Smoke,
Marcia Griffiths,
Pantytec,
Matthew Bourne,
Tom Boy,
David McCallum,
Warren Ellis,
Gian Franco Pienzio,
FM Einheit,
Terry Callier,
Jacques Brel,
Rotary Connection,
Gichy Dan,
Joe Finger,
Electric Prunes,
Moss Icon,
The Five Americans,
Cabaret Voltaire,
Chrome,
Chris Corsano,
Rod Modell,
Con Funk Shun,
Joe Smooth,
Yaz,
Dark Day,
Marine Girls,
Reagan Youth,
the Germs,
Soul Sonic Force,
The Invisible,
Soft Machine,
Guru Guru,
Camouflage,
Bobby Womack,
Stetsasonic,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.