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 Equatorial Guinea and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1972.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Lille 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 Michael McDonald 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 Rhythim Is Rhythim to the funk 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 The Jesus and Mary Chain. All the underground hits.
All Kool Moe Dee tracks. I heard you have a vinyl of every Cal Tjader record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Kool G Rap & DJ Polo,
Outsiders,
The Residents,
a-ha,
Kauko Röyhkä ja Narttu,
Gil Scott Heron,
Isaac Hayes,
John Coltrane,
Pet Shop Boys,
Cal Tjader,
Japan,
The West Coast Pop Art Experimental Band,
Gregory Isaacs,
The Litter,
The Golliwogs,
Circle Jerks,
The Evens,
James Chance & The Contortions,
Major Organ And The Adding Machine,
Pole,
Harry Pussy,
Youth Brigade,
Joe Smooth,
Model 500,
Hot Snakes,
Boogie Down Productions,
June Days,
Connie Case,
Theoretical Girls,
Scrapy,
Lou Reed & Metallica,
Severed Heads,
Marine Girls,
Ultramagnetic MC's,
The Monks,
The Star Department,
Adolescents,
Gang Starr,
Iggy Pop,
Black Bananas,
Main Source,
Robert Wyatt,
The Slits,
Livin' Joy,
The Jesus and Mary Chain,
ABBA,
Gang of Four,
A Certain Ratio,
Nico,
Pierre Henry,
Malaria!,
Delon & Dalcan,
Joy Division,
R.M.O.,
UT,
Deepchord,
Icehouse,
Oppenheimer Analysis,
Arab on Radar,
Stiv Bators,
Magma,
Ten City, Ten City, Ten City, Ten City.
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.