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 Latvia and from Glasgow.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Cairo and Lyon.
I'm losing my edge to the art-school New York 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Technova to the crunk kids.
I played it at the Spitz.
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 Boredoms. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Mantronix record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants 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?
Josef K,
Animal Collective,
Lakeside,
Man Eating Sloth,
Crispy Ambulance,
Scrapy,
Sly & The Family Stone,
The Birthday Party,
Television,
Country Joe & The Fish,
Strawberry Alarm Clock,
Jimmy McGriff,
Monks,
Tropical Tobacco,
The Toasters,
James Chance & The Contortions,
The Angels of Light,
Swell Maps,
The Busters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lou Reed & Metallica,
Malaria!,
Alton Ellis,
Joensuu 1685,
Robert Wyatt,
Sad Lovers and Giants,
Grauzone,
Colin Newman,
Half Japanese,
the Soft Cell,
The Black Dice,
Captain Beefheart & His Magic Band,
Derrick May,
Maleditus Sound,
Matthew Halsall,
Ornette Coleman,
Selector Dub Narcotic,
Pere Ubu,
The Index,
Banda Bassotti,
Terror Squad Feat. Camron,
Kings Of Tomorrow,
ABC,
Tom Boy,
Isaac Hayes,
Glambeats Corp.,
One Last Wish,
Pet Shop Boys,
Skaos,
The Golliwogs,
The Raincoats,
Index,
The Walker Brothers,
Little Man,
Althea and Donna,
Saccharine Trust,
Siglo XX,
Rhythim Is Rhythim,
Michelle Simonal,
Laurel Aitken,
Byron Stingily,
Kerrie Biddell,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.