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 Haiti and from Lagos.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Cairo and Manchester.
I'm losing my edge to the art-school Accra 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the organ 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 Terrestrial Tones to the dance kids.
I played it at Trash.
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 Tomorrow. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every Cameo 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 '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Neu! record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
World's Most,
John Holt,
Can,
Judy Mowatt,
Nation of Ulysses,
The Grass Roots,
Kerrie Biddell,
The Invisible,
Rhythim Is Rhythim,
Black Bananas,
Arab on Radar,
Ituana,
Roxette,
Marc Romboy vs. Booka Shade,
Negative Approach,
Cybotron,
The Fortunes,
Gian Franco Pienzio,
Lou Reed & John Cale,
Kango’s Stein Massive,
Bang on a Can All-Stars,
Kaleidoscope,
The Blackbyrds,
The Doors,
It's A Beautiful Day,
Pharoah Sanders,
Blossom Toes,
Larry & the Blue Notes,
Parry Music,
the Swans,
Oblivians,
Pulsallama,
Stiv Bators,
Danielle Patucci,
The Slackers,
Todd Terry,
The Music Machine,
Spandau Ballet,
Lightning Bolt,
Royal Trux,
The Kinks,
Ultravox,
Howard Jones,
D'Angelo,
Liliput,
The Alarm Clocks,
Absolute Body Control,
Funkadelic,
Jacques Brel,
Magazine,
The Sisters of Mercy,
Chris & Cosey,
Ice-T,
Neu!,
Au Pairs,
Heaven 17,
Faraquet,
Massinfluence,
Kool Moe Dee,
Babytalk,
Kauko Röyhkä ja Narttu,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.