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 Burundi and from Lille.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Spokane.
I'm losing my edge to the art-school Manila 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 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 Blake Baxter to the rap kids.
I played it at Cafe Wha.
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 Nas. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Kango’s Stein Massive 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Swell Maps,
Yusef Lateef,
A Flock of Seagulls,
Derrick Morgan,
The Royal Family And The Poor,
Nick Cave & The Bad Seeds,
Lower 48,
Dorothy Ashby,
Susan Cadogan,
Skarface,
FM Einheit,
Aaron Thompson,
Panda Bear,
Slave,
Audionom,
Roger Hodgson,
Sight & Sound,
The Gladiators,
cv313,
Popol Vuh,
The Selecter,
Sexual Harrassment,
The United States of America,
MDC,
Porter Ricks,
Howard Jones,
a-ha,
The Move,
Cybotron,
Jimmy McGriff,
Electric Prunes,
The Victims,
Soft Machine,
Livin' Joy,
Angry Samoans,
Curtis Mayfield,
Ohio Players,
Nils Olav,
Shuggie Otis,
Eric Copeland,
Kauko Röyhkä ja Narttu,
The Real Kids,
Traffic Nightmare,
Amazonics,
Moss Icon,
Technova,
X-102,
The Cosmic Jokers,
Hashim,
Das Ding,
The Names,
Pulsallama,
Michelle Simonal,
Babytalk,
Dual Sessions,
Massinfluence,
The Moody Blues,
The Shadows of Knight,
Tears for Fears,
Kerrie Biddell,
Jandek,
The Toasters, The Toasters, The Toasters, The Toasters.
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.