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 Philippines and from Copenhagen.
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 1977.
I'm losing my edge.
To all the kids in Johannesburg and Lagos.
I'm losing my edge to the art-school Mexico City 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 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 Gil Scott Heron to the crunk 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 the Slits. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every X-Ray Spex 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Eve St. Jones,
The Sound,
Supertramp,
Black Flag,
Country Joe & The Fish,
Soft Machine,
Intrusion,
The Martian,
Vainqueur,
Bang on a Can All-Stars,
Röyhkä ja Rättö ja Lehtisalo,
Minny Pops,
The Sonics,
The Dead C,
Crispy Ambulance,
Stockholm Monsters,
Heaven 17,
Ossler,
Amon Düül II,
The Men They Couldn't Hang,
Black Bananas,
The Stooges,
Harpers Bizarre,
R.M.O.,
Little Man,
The Five Americans,
Infiniti,
The Peanut Butter Conspiracy,
Girls At Our Best!,
CMW,
Suicide,
D'Angelo,
Gang Green,
T. Rex,
Barclay James Harvest,
Andrew Hill,
Franke,
Kool G Rap & DJ Polo,
UT,
Fugazi,
Skriet,
Bill Near,
U.S. Maple,
Lindisfarne,
Fluxion,
It's A Beautiful Day,
Bluetip,
Massinfluence,
Faraquet,
Slick Rick,
Niagra,
Warren Ellis,
Thee Headcoats,
Pierre Henry,
Freddie Wadling,
Fad Gadget,
E-Dancer,
Crash Course in Science,
Heavy D & The Boyz,
Joy Division,
Quando Quango, Quando Quango, Quando Quango, Quando Quango.
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.