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 Mongolia and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and New York.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Agitation Free to the grunge 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 the Swans. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Rhythim Is Rhythim record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Janne Schatter,
R.M.O.,
kango's stein massive,
Procol Harum,
Theoretical Girls,
Bill Wells,
Marcia Griffiths,
Idris Muhammad,
Dark Day,
Scan 7,
Fort Wilson Riot,
LL Cool J,
MDC,
Henry Cow,
Amon Düül,
The Doors,
Lonnie Liston Smith,
Drexciya,
Jimmy McGriff,
Dual Sessions,
The Modern Lovers,
The Angels of Light,
Ash Ra Tempel,
The Searchers,
Lindisfarne,
Little Man,
Bad Manners,
Rakim,
The Fall,
UT,
The Monochrome Set,
Michelle Simonal,
John Coltrane,
Flash Fearless,
Mo-Dettes,
Deepchord,
Arcadia,
The Gap Band,
Red Lorry Yellow Lorry,
Jandek,
Duran Duran,
Buzzcocks,
Brand Nubian,
Eden Ahbez,
Radio Birdman,
Public Image Ltd.,
Matthew Halsall,
The Saints,
The Music Machine,
The Evens,
Sarah Menescal,
Chris & Cosey,
The Invisible,
Spandau Ballet,
Derrick Morgan,
Make Up,
Freddie Wadling,
the Bar-Kays,
Connie Case,
Gastr Del Sol,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.