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 Liechtenstein and from Hong Kong.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Shanghai and Columbus.
I'm losing my edge to the art-school Mexico City 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 808 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 Mo-Dettes 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 Kerrie Biddell. All the underground hits.
All Robert Hood tracks. I heard you have a vinyl of every Neu! record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Mary Jane Girls,
Cameo,
Eric Dolphy,
Rites of Spring,
Franke,
The Index,
Eric B and Rakim,
Half Japanese,
The Golliwogs,
Maurizio,
The Men They Couldn't Hang,
Bluetip,
Moby Grape,
Motorama,
Henry Cow,
Absolute Body Control,
Drexciya,
Khruangbin,
Aural Exciters,
Cabaret Voltaire,
Neu!,
The Happenings,
Notorious BIG live in Amsterdam,
Pere Ubu,
Gabor Szabo,
Albert Ayler,
Eli Mardock,
Radiopuhelimet,
Q65,
Captain Beefheart & His Magic Band,
Archie Shepp,
Colin Newman,
David McCallum,
The Young Rascals,
Pete Rock & C.L. Smooth,
Minny Pops,
Pantaleimon,
The Alarm Clocks,
Skarface,
In Retrospect,
Faust,
Byron Stingily,
Adolescents,
Warren Ellis,
Fort Wilson Riot,
the Swans,
Chrome,
Ornette Coleman,
Sugar Minott,
London Community Gospel Choir,
Barrington Levy,
The Cosmic Jokers,
Morten Harket,
The Techniques,
Pharoah Sanders,
Anakelly,
Teenage Jesus and the Jerks,
Amon Düül,
Public Image Ltd.,
Be Bop Deluxe,
The Smiths, The Smiths, The Smiths, The Smiths.
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.