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 Grenada and from Bologna.
But I was there.
I was there in .
I was there at the first Suicide 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 1965 to 1976.
I'm losing my edge.
To all the kids in Toronto and Columbus.
I'm losing my edge to the art-school Toronto 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 The Doors to the jazz kids.
I played it at the 40 Watt.
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 Moss Icon. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Half Japanese record on German import.
I heard that you have a white label of every seminal electroclash 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 a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
Avey Tare's Slasher Flicks,
Cecil Taylor,
Brothers Johnson,
Donny Hathaway,
JFA,
Leonard Cohen,
This Heat,
Soft Machine,
Echo & the Bunnymen,
Ten City,
Kool G Rap & DJ Polo,
Sexual Harrassment,
Pet Shop Boys,
Bob Dylan,
Clear Light,
Dual Sessions,
Arab on Radar,
Con Funk Shun,
Ultra Naté,
Toni Rubio,
Sandy B,
Unrelated Segments,
The Music Machine,
Cluster,
Black Flag,
Maleditus Sound,
Echospace,
Jeff Mills,
Newcleus,
Joensuu 1685,
Delon & Dalcan,
Aaron Thompson,
the Fania All-Stars,
Infiniti,
Marc Almond,
Urselle,
Duran Duran,
Drexciya,
Louis and Bebe Barron,
Stiv Bators,
Sonic Youth,
Selector Dub Narcotic,
The Doobie Brothers,
Deepchord,
Deakin,
Schoolly D,
The Red Krayola,
Lebanon Hanover,
LL Cool J,
Tubeway Army,
the Human League,
kango's stein massive,
Jeru the Damaja,
Vladislav Delay,
The Flesh Eaters,
Essential Logic,
DeepChord presents Echospace,
Funkadelic,
Skarface,
Derrick May,
Buzzcocks,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.