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 Kazakhstan and from Accra.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Bologna 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Negative Approach to the techno 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 James Chance & The Contortions. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unrelated Segments,
Terrestrial Tones,
Maleditus Sound,
Kings Of Tomorrow,
Gil Scott-Heron & Brian Jackson,
Neil Young,
Connie Case,
Hoover,
Pierre Henry,
Rufus Thomas,
Half Japanese,
Selector Dub Narcotic,
The Divine Comedy,
10cc,
Eyeless In Gaza,
Tropical Tobacco,
Fat Boys,
Animal Collective,
Quando Quango,
Scott Walker,
Absolute Body Control,
Juan Atkins,
Electric Light Orchestra,
Peter and Kerry,
Soul Sonic Force,
The Names,
Niagra,
LL Cool J,
Flamin' Groovies,
The Moody Blues,
Sonny Sharrock,
Metal Thangz,
Lafayette Afro Rock Band,
Slick Rick,
Davy DMX,
Freddie Wadling,
Quantec,
The Associates,
Gary Puckett & The Union Gap,
Drive Like Jehu,
Jesper Dahlbäck,
Captain Beefheart & His Magic Band,
Circle Jerks,
Infiniti,
Glambeats Corp.,
Marc Romboy vs. Booka Shade,
Chris Corsano,
Morten Harket,
Sandy B,
Darondo,
Terry Callier,
The Seeds,
Oblivians,
Young Marble Giants,
Nas,
Swans,
Los Fastidios,
Terror Squad Feat. Camron,
48th St. Collective,
The Toasters, The Toasters, The Toasters, The Toasters.
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.