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 Jordan and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Columbus and Bologna.
I'm losing my edge to the art-school Mexico City 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 808 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 LL Cool J to the electroclash kids.
I played it at the Spitz.
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 Be Bop Deluxe. All the underground hits.
All Johnny Clarke 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 rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Moss Icon,
Fifty Foot Hose,
Agitation Free,
Henry Cow,
Radiopuhelimet,
Harry Pussy,
Ituana,
Albert Ayler,
Sun Ra,
Lucky Dragons,
the Fania All-Stars,
Swell Maps,
The Martian,
Wings,
Bootsy Collins,
Index,
The Raincoats,
Bronski Beat,
Avey Tare's Slasher Flicks,
Heaven 17,
Harpers Bizarre,
Crime,
Nick Cave & The Bad Seeds,
The Angels of Light,
Dennis Brown,
These Immortal Souls,
Camouflage,
Cabaret Voltaire,
Echospace,
the Swans,
AZ,
the Association,
Deakin,
Peter Gordon & Love of Life Orchestra,
Essential Logic,
Roxy Music,
Khruangbin,
The Fortunes,
Heavy D & The Boyz,
Ohio Players,
Intrusion,
The Last Poets,
cv313,
Half Japanese,
Goldenarms,
Gang Gang Dance,
Andrew Ashong & Theo Parrish,
FM Einheit,
Thinking Fellers Union Local 282,
Marc Romboy vs. Booka Shade,
Grauzone,
Pulsallama,
The Chocolate Watch Band,
Angry Samoans,
A Certain Ratio,
Grey Daturas,
Pete Rock & C.L. Smooth,
Susan Cadogan,
Peter and Kerry,
Interpol,
X-102, X-102, X-102, X-102.
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.