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 Nepal and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Glasgow 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 sitar 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 Circle Jerks to the rap kids.
I played it at the Roxy.
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 Eli Mardock. All the underground hits.
All 10cc tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
kango's stein massive,
Clear Light,
Radiohead,
Scott Walker + Sunn O))),
Arthur Verocai,
Malaria!,
Terrestrial Tones,
Traffic Nightmare,
Aural Exciters,
Fifty Foot Hose,
Sister Nancy,
Black Sheep,
Negative Approach,
Bobby Byrd,
Ice-T,
the Bar-Kays,
Ronnie Foster,
Ituana,
The Blues Magoos,
The Cure,
Ronan,
Notorious BIG live in Amsterdam,
Kool G Rap & DJ Polo,
Altered Images,
Sam Rivers,
The Saints,
Audionom,
Deutsch Amerikanische Freundschaft,
Delta 5,
Ultra Naté,
Nico,
The Martian,
the Fania All-Stars,
Bob Dylan,
A Certain Ratio,
Swell Maps,
Scion,
Danielle Patucci,
Gil Scott Heron,
Hashim,
In Retrospect,
Barry Ungar,
Robert Hood,
The Monochrome Set,
Vainqueur,
Gregory Isaacs,
Ten City,
Wolf Eyes,
Scott Walker,
Electric Prunes,
Severed Heads,
The Leaves,
The Barracudas,
Minor Threat,
Ajijia Myrayebe,
Dave Gahan,
Quadrant,
the Association,
Ultravox,
Youth Brigade,
Bobby Hutcherson,
Pharaoh Sanders and the Fire Engines,
Index,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.