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 Denmark and from Seoul.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Cairo.
I'm losing my edge to the art-school Tokyo 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Alton Ellis to the dance kids.
I played it at CBGB's.
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 Arthur Verocai. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Q and Not U 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 '90s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
Black Bananas,
Suicide,
The Gories,
Angry Samoans,
The American Breed,
The Flesh Eaters,
Massinfluence,
cv313,
Youth Brigade,
Faraquet,
One Last Wish,
Cameo,
X-Ray Spex,
Minnie Riperton,
Bill Wells,
Rhythm & Sound,
The Slackers,
Wings,
Lightning Bolt,
Zapp,
Groovy Waters,
Skriet,
Camouflage,
Moebius,
Harry Pussy,
Country Teasers,
Index,
Anakelly,
The Sisters of Mercy,
The Fugs,
Man Eating Sloth,
Porter Ricks,
Colin Newman,
Traffic Nightmare,
Marc Romboy vs. Booka Shade,
Kerri Chandler,
Archie Shepp,
ABBA,
Pole,
the Slits,
Jawbox,
Lou Reed & John Cale,
Sugar Minott,
Scrapy,
Amazonics,
Kango’s Stein Massive,
The Residents,
Oblivians,
The New Christs,
the Association,
Graham Central Station,
Steve Hackett,
Radio Birdman,
L. Decosne,
Grandmaster Flash and the Furious Five,
Gabor Szabo,
The Invisible,
Crooked Eye,
Skarface,
Janne Schatter,
Boredoms,
The United States of America,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.