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 Swaziland and from Bologna.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Spokane 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the clarinet 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 Country Teasers to the rap 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 Nation of Ulysses. All the underground hits.
All Ajijia Myrayebe tracks. I heard you have a vinyl of every Prince Buster record on German import.
I heard that you have a white label of every seminal techno 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 a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Misunderstood,
Janne Schatter,
The Neon Judgement,
the Slits,
Supertramp,
Bootsy's Rubber Band,
Fear,
Eli Mardock,
Soul II Soul,
Popol Vuh,
The Alarm Clocks,
Average White Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Fugazi,
Agent Orange,
Laurel Aitken,
K-Klass,
The J.B.'s,
Pylon,
Q65,
Mad Mike,
Make Up,
Babytalk,
Drive Like Jehu,
Rod Modell,
Roy Ayers Ubiquity,
Hashim,
Johnny Clarke,
The Cramps,
Masters at Work,
Matthew Bourne,
Andrew Ashong & Theo Parrish,
Warsaw,
the Sonics,
Scrapy,
The Cure,
The Monks,
The Move,
Gang Starr,
The Selecter,
Eric Copeland,
the Bar-Kays,
Sällskapet,
Index,
Roxy Music,
Jesper Dahlback,
Flamin' Groovies,
Max Romeo,
Procol Harum,
The Barracudas,
Lafayette Afro Rock Band,
The Stooges,
Minnie Riperton,
Hardrive,
Brass Construction,
Funkadelic,
Joensuu 1685,
Ajijia Myrayebe,
Sexual Harrassment,
Mr. Review,
Shoche,
Sunsets and Hearts,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.