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 Italy and from New York.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Beijing and Lyon.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 Saccharine Trust to the funk kids.
I played it at the Crocodile.
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 Freddie Wadling. All the underground hits.
All Gang Gang Dance tracks. I heard you have a vinyl of every Fela Kuti record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Fluxion,
Public Image Ltd.,
The Human League,
Jawbox,
Art Ensemble Of Chicago,
The Fall,
Warsaw,
The Cosmic Jokers,
Excepter,
Notorious BIG live in Amsterdam,
Shoche,
La Düsseldorf,
Skarface,
Underground Resistance,
Ultramagnetic MC's,
The Vogues,
The Gladiators,
Soulsonic Force,
Pylon,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Detroit Cobras,
Scratch Acid,
Barrington Levy,
Delta 5,
the Slits,
Terrestrial Tones,
Spandau Ballet,
Teenage Jesus and the Jerks,
Accadde A,
Fifty Foot Hose,
Ice-T,
Yellowson,
Thompson Twins,
T.S.O.L.,
Janne Schatter,
Basic Channel,
Oneida,
Half Japanese,
Vladislav Delay,
The Gories,
Dark Day,
Wire,
Frankie Knuckles,
Harry Pussy,
Iggy Pop,
Larry & the Blue Notes,
48th St. Collective,
Kerri Chandler,
The Walker Brothers,
Jeru the Damaja,
Pantytec,
Colin Newman,
The Shadows of Knight,
D'Angelo,
Avey Tare,
The Smoke,
Delon & Dalcan,
The Divine Comedy,
Sister Nancy,
Albert Ayler,
Major Organ And The Adding Machine,
Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone, Sly & The Family Stone.
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.