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 Uzbekistan and from Lille.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Mumbai.
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 clarinet 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 F. McDonald to the disco 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 The Gun Club. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every June Days record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Todd Rundgren,
Susan Cadogan,
Half Japanese,
Yaz,
Jacob Miller,
Roxette,
The Smiths,
Thompson Twins,
the Association,
Subhumans,
The Associates,
Harmonia,
Swell Maps,
Moby Grape,
Pete Rock & C.L. Smooth,
Khruangbin,
Matthew Halsall,
The Fall,
The Last Poets,
Selector Dub Narcotic,
Toni Rubio,
Deepchord,
Hoover,
Johnny Clarke,
Aaron Thompson,
Nick Fraelich,
Gang Starr,
It's A Beautiful Day,
Amon Düül,
Barclay James Harvest,
Art Ensemble Of Chicago,
Minnie Riperton,
A Certain Ratio,
Sight & Sound,
Avey Tare & Kría Brekkan,
Ken Boothe,
The Golliwogs,
Von Mondo,
Hasil Adkins,
Pussy Galore,
Mark Hollis,
Oneida,
Lower 48,
Sällskapet,
The Seeds,
Massinfluence,
Gil Scott-Heron & Brian Jackson,
OOIOO,
Rosa Yemen,
Big Daddy Kane,
Skarface,
June of 44,
David Bowie,
Andrew Hill,
Brand Nubian,
Hot Snakes,
the Human League,
Bill Wells,
Con Funk Shun,
Ultravox,
Talk Talk,
Alison Limerick,
The Remains, The Remains, The Remains, The Remains.
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.