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 Kyrgyzstan and from Columbus.
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 1979.
I'm losing my edge.
To all the kids in Lyon and Woodstock.
I'm losing my edge to the art-school Toronto 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Eurythmics to the punk kids.
I played it at the 40 Watt.
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 Procol Harum. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal jazz 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 organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pierre Henry record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Inner City,
Pete Rock & C.L. Smooth,
Andrew Ashong & Theo Parrish,
The Count Five,
Justin Hinds & The Dominoes,
Notorious BIG live in Amsterdam,
Nik Kershaw,
Rhythim Is Rhythim,
Cabaret Voltaire,
Skriet,
Marine Girls,
A Certain Ratio,
Don Cherry,
Bootsy's Rubber Band,
Pussy Galore,
Aural Exciters,
The Alarm Clocks,
B.T. Express,
Nick Fraelich,
Negative Approach,
Radiohead,
Jawbox,
Orchestral Manoeuvres in the Dark,
Niagra,
Crispy Ambulance,
The Monks,
Heaven 17,
Bush Tetras,
Prince Buster,
Das Ding,
Terror Squad Feat. Camron,
Erasure,
Barry Ungar,
The Dave Clark Five,
Unwound,
Soft Machine,
Kool G Rap & DJ Polo,
Minutemen,
Roxy Music,
Saccharine Trust,
The Kinks,
Steve Hackett,
Michelle Simonal,
Red Lorry Yellow Lorry,
Rod Modell,
Schoolly D,
Urselle,
Panda Bear,
The Skatalites,
Porter Ricks,
The Saints,
The United States of America,
Louis and Bebe Barron,
Bang on a Can All-Stars,
Maleditus Sound,
The Men They Couldn't Hang,
Eve St. Jones,
The Stooges, The Stooges, The Stooges, The Stooges.
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.