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 Somalia and from Delhi.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1972.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
I'm losing my edge to the art-school Shanghai 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 PIL to the grime kids.
I played it at the Astoria.
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 Eddi Front. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every DeepChord presents Echospace 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 '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Janne Schatter,
Cluster,
Saccharine Trust,
Buzzcocks,
F. McDonald,
Althea and Donna,
Amon Düül,
The Searchers,
The Techniques,
Make Up,
Kings Of Tomorrow,
Cabaret Voltaire,
Minutemen,
The Wake,
Technova,
Agent Orange,
The Dead C,
Stockholm Monsters,
The Gladiators,
Black Flag,
Gerry Rafferty,
the Slits,
X-101,
Index,
Maurizio,
Crooked Eye,
Grandmaster Flash and the Furious Five,
Tom Boy,
Andrew Ashong & Theo Parrish,
Sandy B,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Man Eating Sloth,
Susan Cadogan,
La Düsseldorf,
The Real Kids,
Ituana,
Notorious Big And Bone Thugs,
The Peanut Butter Conspiracy,
the Fania All-Stars,
The Martian,
Avey Tare,
Pantytec,
Aaron Thompson,
a-ha,
Matthew Halsall,
Alison Limerick,
Fluxion,
Television,
The Cure,
Porter Ricks,
Alice Coltrane,
Mo-Dettes,
Kevin Saunderson,
The Offenders,
The Music Machine,
Skarface, Skarface, Skarface, Skarface.
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.