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 Mauritius and from Winnipeg.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Bremen and Taipei.
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 snare 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 Sad Lovers and Giants to the electroclash kids.
I played it at the Hacienda.
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 Derrick May. All the underground hits.
All Spoonie Gee tracks. I heard you have a vinyl of every Can 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 '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Max Romeo,
David Bowie,
Sound Behaviour,
Shuggie Otis,
The Black Dice,
Franke,
Gil Scott-Heron & Brian Jackson,
Sällskapet,
New Age Steppers,
Aswad,
Sugar Minott,
Stereo Dub,
Scratch Acid,
The Barracudas,
Inner City,
Sexual Harrassment,
Jacques Brel,
Supertramp,
Ultra Naté,
The Associates,
Trumans Water,
Black Flag,
The Seeds,
Eve St. Jones,
Newcleus,
Slave,
Shoche,
The Cure,
Gary Puckett & The Union Gap,
The Index,
Rufus Thomas,
The Neon Judgement,
Mandrill,
The Kinks,
Johnny Osbourne,
The Searchers,
The Slackers,
Niagra,
Derrick May,
Traffic Nightmare,
Banda Bassotti,
Selector Dub Narcotic,
Erykah Badu,
E-Dancer,
Depeche Mode,
Boogie Down Productions,
Andrew Hill,
Outsiders,
Animal Collective,
Theoretical Girls,
Smog,
Orchestral Manoeuvres in the Dark,
Laurel Aitken,
The Gap Band,
Sun City Girls,
Barbara Tucker,
The Dave Clark Five,
cv313,
Stetsasonic,
Crispy Ambulance,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.