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 Sweden and from Manchester.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1975.
I'm losing my edge.
To all the kids in Accra and Manila.
I'm losing my edge to the art-school Bremen 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Liaisons Dangereuses 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 The Gladiators. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Eric B and Rakim record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Pete Rock & C.L. Smooth,
Judy Mowatt,
Supertramp,
Laurel Aitken,
Derrick Morgan,
Lafayette Afro Rock Band,
Terrestrial Tones,
Minny Pops,
Section 25,
Pharaoh Sanders and the Fire Engines,
The Techniques,
Freddie Wadling,
Aloha Tigers,
Matthew Bourne,
Radiopuhelimet,
Barbara Tucker,
Kauko Röyhkä ja Narttu,
The Fugs,
Drive Like Jehu,
EPMD,
John Cale,
Circle Jerks,
KRS-One,
Liaisons Dangereuses,
Deadbeat,
The Five Americans,
The Velvet Underground,
The Dead C,
Beasts of Bourbon,
Bronski Beat,
Moebius,
Suburban Knight,
Animal Collective,
Grandmaster Flash and the Furious Five,
Nirvana,
The Leaves,
Pere Ubu,
Max Romeo,
The Men They Couldn't Hang,
Bobby Hutcherson,
David Axelrod,
Drexciya,
The Shadows of Knight,
Leonard Cohen,
the Soft Cell,
Cecil Taylor,
Unrelated Segments,
The Misunderstood,
Skaos,
Ponytail,
Dr. Dre and Snoop Doggy Dog,
H. Thieme,
The Victims,
Bobbi Humphrey,
Yusef Lateef,
Rufus Thomas,
Godley & Creme,
The Durutti Column,
Bill Near,
Youth Brigade,
Dorothy Ashby, Dorothy Ashby, Dorothy Ashby, Dorothy Ashby.
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.