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 Sierra Leone and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Cairo.
I'm losing my edge to the art-school Lille 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 oboe 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 Art Ensemble Of Chicago 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 Larry & the Blue Notes. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every Reagan Youth record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Scan 7 record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Oppenheimer Analysis,
The Jesus and Mary Chain,
Infiniti,
Saccharine Trust,
T.S.O.L.,
Sun Ra Arkestra,
Yellowson,
Siglo XX,
A Flock of Seagulls,
Section 25,
Andrew Ashong & Theo Parrish,
Rufus Thomas,
Sexual Harrassment,
Lyres,
D'Angelo,
The Fortunes,
a-ha,
Be Bop Deluxe,
Stereo Dub,
Malaria!,
Metal Thangz,
Andrew Hill,
Sonic Youth,
James Chance & The Contortions,
Dual Sessions,
Monolake,
Chris Corsano,
Fad Gadget,
10cc,
Soft Machine,
Lou Christie,
The Divine Comedy,
the Bar-Kays,
The Doors,
These Immortal Souls,
Ken Boothe,
Eyeless In Gaza,
Skaos,
Sad Lovers and Giants,
Bootsy's Rubber Band,
Derrick Morgan,
Skarface,
Bad Manners,
Skriet,
Sparks,
The Residents,
Lucky Dragons,
New Order,
Junior Murvin,
The Blues Magoos,
The Tremeloes,
U.S. Maple,
Terrestrial Tones,
The Neon Judgement,
The Last Poets,
Model 500,
June of 44,
Pole,
Youth Brigade,
Arthur Verocai,
Symarip, Symarip, Symarip, Symarip.
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.