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 Afghanistan and from Paris.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Stockholm and Seoul.
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 güiro sounds with much patience.
I was there when David Bowie 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 Terror Squad Feat. Camron to the disco kids.
I played it at the Troubador.
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 Swans. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Eli Mardock 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro 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 arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
Michelle Simonal,
H. Thieme,
Roy Ayers Ubiquity,
Flash Fearless,
Judy Mowatt,
Roxette,
New Order,
Angels of Light & Akron/Family,
The Black Dice,
Shoche,
The Wake,
Swell Maps,
The Men They Couldn't Hang,
Fort Wilson Riot,
The Chocolate Watch Band,
Kerri Chandler,
Lebanon Hanover,
DeepChord presents Echospace,
Gian Franco Pienzio,
Jeru the Damaja,
The Pretty Things,
China Crisis,
Neu!,
Oblivians,
Interpol,
Big Daddy Kane,
Metal Thangz,
Richard Hell and the Voidoids,
The Associates,
Curtis Mayfield,
Eurythmics,
The Misunderstood,
Selector Dub Narcotic,
The Gories,
Derrick Morgan,
MC5,
The Moleskins,
The Count Five,
Absolute Body Control,
Albert Ayler,
Gary Puckett & The Union Gap,
Throbbing Gristle,
Thinking Fellers Union Local 282,
Guru Guru,
The Move,
Henry Cow,
Scott Walker,
LL Cool J,
Marc Almond,
Blake Baxter,
Al Stewart,
Bobby Hutcherson,
The Blackbyrds,
Stiv Bators,
The Cramps,
Pylon,
Cal Tjader,
Marshall Jefferson,
The Sound,
D'Angelo,
The Vogues,
Suburban Knight,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.