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 Jakarta.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school Madrid 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Brass Construction to the techno 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 De La Soul & Jungle Brothers. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Avey Tare's Slasher Flicks record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Warren Ellis record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Faust,
Angry Samoans,
Circle Jerks,
Ultramagnetic MC's,
Warren Ellis,
Tim Buckley,
Gil Scott Heron,
Ponytail,
Bootsy Collins,
Deepchord,
Au Pairs,
Bad Manners,
Boredoms,
Excepter,
Robert Hood,
This Heat,
Crispy Ambulance,
Black Moon,
Drive Like Jehu,
The Barracudas,
The Human League,
Quantec,
Johnny Osbourne,
Crispian St. Peters,
Rakim,
Avey Tare & Kría Brekkan,
Major Organ And The Adding Machine,
Organ,
Second Layer,
Subhumans,
Magazine,
The Pop Group,
Loose Ends,
Deadbeat,
Peter and Kerry,
Glenn Branca,
Heaven 17,
Moebius,
Bang On A Can,
Soul Sonic Force,
Kayak,
Pere Ubu,
The Mighty Diamonds,
Das Ding,
Echo & the Bunnymen,
Howard Jones,
Monolake,
Scion,
Kool G Rap & DJ Polo,
Agent Orange,
The Birthday Party,
Nirvana,
Television Personalities,
The Residents,
Colin Newman,
Robert Görl,
Sex Pistols,
Art Ensemble Of Chicago,
Andrew Ashong & Theo Parrish,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.