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 Bahamas and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1973.
I'm losing my edge.
To all the kids in Toronto and Lille.
I'm losing my edge to the art-school Salvador 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 clarinet sounds with much patience.
I was there when Lou Reed 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 Brand Nubian to the rap 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 Brothers Johnson. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Ultra Naté 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 '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Siouxsie and the Banshees,
Deadbeat,
Bobby Hutcherson,
Traffic Nightmare,
JFA,
Barrington Levy,
Public Image Ltd.,
Delta 5,
Art Ensemble Of Chicago,
Los Fastidios,
The Golliwogs,
Rufus Thomas,
Black Sheep,
Harpers Bizarre,
Blancmange,
Cluster,
Zero Boys,
Lizzy Mercier Descloux,
Kas Product,
Lafayette Afro Rock Band,
Rod Modell,
Kings Of Tomorrow,
Banda Bassotti,
The Durutti Column,
Man Eating Sloth,
Fort Wilson Riot,
The Men They Couldn't Hang,
Richard Hell and the Voidoids,
Jacob Miller,
The Martian,
Brothers Johnson,
Crash Course in Science,
Mary Jane Girls,
Tears for Fears,
Derrick Morgan,
Gang Gang Dance,
John Foxx,
FM Einheit,
It's A Beautiful Day,
Nick Fraelich,
Black Bananas,
Brick,
Clear Light,
June of 44,
Robert Hood,
The Music Machine,
Lee Hazlewood,
Ash Ra Tempel,
Röyhkä ja Rättö ja Lehtisalo,
Al Stewart,
Gregory Isaacs,
Tubeway Army,
The Vogues,
R.M.O.,
ABBA,
Suburban Knight,
Matthew Halsall,
Marc Romboy vs. Booka Shade,
Slave,
Gil Scott-Heron and Jamie xx,
L. Decosne,
Aswad, Aswad, Aswad, Aswad.
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.