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 Tuvalu and from Mexico City.
But I was there.
I was there in .
I was there at the first Suicide 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 1968 to 1976.
I'm losing my edge.
To all the kids in Accra and Tehran.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Slick Rick 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 Ash Ra Tempel. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Section 25 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Angry Samoans,
the Germs,
Joe Smooth,
Slave,
Lee Hazlewood,
Marvin Gaye,
Röyhkä ja Rättö ja Lehtisalo,
Warren Ellis,
Stereo Dub,
Cheater Slicks,
Urselle,
Sun Ra Arkestra,
Althea and Donna,
The Star Department,
Wire,
The Sisters of Mercy,
Tommy Roe,
Lucky Dragons,
Bobby Byrd,
the Swans,
Black Moon,
The West Coast Pop Art Experimental Band,
Circle Jerks,
The Shadows of Knight,
Eric Copeland,
Pharaoh Sanders and the Fire Engines,
New York Dolls,
The Smiths,
Panda Bear,
The Black Dice,
Cecil Taylor,
Bill Near,
The Move,
Hot Snakes,
The Cure,
Chris & Cosey,
Thinking Fellers Union Local 282,
Duran Duran,
Kings Of Tomorrow,
Ultravox,
Quantec,
Adolescents,
New Order,
Gong,
Cal Tjader,
Scrapy,
Index,
Monolake,
8 Eyed Spy,
Faraquet,
Grandmaster Flash,
Shuggie Otis,
June of 44,
Brick,
Drive Like Jehu,
Siouxsie and the Banshees,
Ossler,
Pagans,
Intrusion,
The Doobie Brothers,
Yusef Lateef,
Thompson Twins, Thompson Twins, Thompson Twins, Thompson Twins.
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.