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 Guinea-Bissau and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1978.
I'm losing my edge.
To all the kids in Glasgow and Portland.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the oboe 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 Joensuu 1685 to the rap 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 Alison Limerick. All the underground hits.
All Anthony Braxton tracks. I heard you have a vinyl of every Nick Fraelich 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 '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sad Lovers and Giants record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Graham Central Station,
Throbbing Gristle,
Lebanon Hanover,
Visionaries,LMNO, T- Love & Iriscience,
Index,
Peter & Gordon,
Nation of Ulysses,
Chrome,
Fluxion,
Iggy Pop,
Laurel Aitken,
Roy Ayers Ubiquity,
Selector Dub Narcotic,
John Foxx,
Amon Düül,
Pylon,
The Blackbyrds,
Sugar Minott,
The Techniques,
Bang On A Can,
Qualms,
Radiohead,
Pet Shop Boys,
Electric Light Orchestra,
The Evens,
Magazine,
James Chance & The Contortions,
Danielle Patucci,
The Doobie Brothers,
The Buckinghams,
Lucky Dragons,
Blossom Toes,
Crispy Ambulance,
Larry & the Blue Notes,
Adolescents,
Pierre Henry,
a-ha,
Wasted Youth,
Excepter,
Zero Boys,
Alton Ellis,
Rhythim Is Rhythim,
Rekid,
Unrelated Segments,
Avey Tare & Kría Brekkan,
Delon & Dalcan,
Moby Grape,
Section 25,
Ludus,
The Selecter,
Vaughan Mason & Crew,
Skaos,
Joy Division,
Fugazi,
London Community Gospel Choir,
Popol Vuh,
Lakeside,
Davy DMX,
Albert Ayler,
In Retrospect,
Ralphi Rosario, Ralphi Rosario, Ralphi Rosario, Ralphi Rosario.
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.