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 Cameroon and from Philadelphia.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Beijing and Toronto.
I'm losing my edge to the art-school Delhi 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 Captain Beefheart 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 Aural Exciters to the electroclash 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 Kerrie Biddell. All the underground hits.
All Kool G Rap & DJ Polo tracks. I heard you have a vinyl of every The United States of America 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a OOIOO record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Charles Mingus,
Marshall Jefferson,
Glambeats Corp.,
Tim Buckley,
Ohio Players,
Qualms,
Albert Ayler,
Stereo Dub,
Jesper Dahlbäck,
Bobby Hutcherson,
The Slits,
CMW,
The Monks,
Alison Limerick,
Babytalk,
DJ Sneak,
Aswad,
Chrome,
Mark Hollis,
Richard Hell and the Voidoids,
The Mojo Men,
New Order,
Essential Logic,
Half Japanese,
The Moody Blues,
Popol Vuh,
Grandmaster Flash,
Suicide,
Barrington Levy,
The Alarm Clocks,
Wally Richardson,
Radio Birdman,
Theoretical Girls,
Gichy Dan,
Barbara Tucker,
F. McDonald,
The Seeds,
Liaisons Dangereuses,
Pylon,
Vainqueur,
Lower 48,
Accadde A,
The Blackbyrds,
Shoche,
Wings,
Sight & Sound,
Tommy Roe,
Brand Nubian,
Khruangbin,
Desert Stars,
Supertramp,
Stiv Bators,
Average White Band,
The Residents,
Sun Ra Arkestra,
Grauzone,
David Bowie,
Ludus,
Oblivians,
Kango’s Stein Massive,
Carl Craig,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.