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 Belize and from New York.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Delhi.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Major Organ And The Adding Machine to the grunge 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 Todd Terry. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Magazine record on German import.
I heard that you have a white label of every seminal punk 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 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Adolescents,
Camron Feat. Memphis Bleek And Beenie Seigel,
E-Dancer,
The Gun Club,
Terror Squad Feat. Camron,
The Dave Clark Five,
DJ Style,
Bobby Byrd,
Larry & the Blue Notes,
New Age Steppers,
Radiopuhelimet,
Circle Jerks,
Country Joe & The Fish,
Amazonics,
The Five Americans,
Pole,
Theoretical Girls,
The Busters,
48th St. Collective,
Strawberry Alarm Clock,
Boogie Down Productions,
These Immortal Souls,
Nation of Ulysses,
Joyce Sims,
Ludus,
Pylon,
Althea and Donna,
Scott Walker,
Kool G Rap & DJ Polo,
Deadbeat,
The Angels of Light,
Jerry's Kids,
Sun Ra Arkestra,
Art Ensemble Of Chicago,
Bill Wells,
Dual Sessions,
Los Fastidios,
The Velvet Underground,
Flash Fearless,
Skriet,
The Skatalites,
Lower 48,
La Düsseldorf,
The Birthday Party,
Alice Coltrane,
Television,
Barbara Tucker,
X-101,
Gastr Del Sol,
Country Teasers,
Television Personalities,
The Sonics,
Hashim,
Audionom,
The Smoke,
The Standells,
Can,
Outsiders,
Cecil Taylor,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.