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 Poland and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 Madrid and Glasgow.
I'm losing my edge to the art-school Lyon 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 Nile Rodgers 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 Cabaret Voltaire to the grime kids.
I played it at Cafe Wha.
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 Names. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gregory Isaacs,
Yellowson,
The Move,
La Düsseldorf,
Heavy D & The Boyz,
Rowland S Howard / Lydia Lunch,
10cc,
Terrestrial Tones,
Teenage Jesus and the Jerks,
Faraquet,
Tears for Fears,
Pole,
Mad Mike,
Buzzcocks,
Bauhaus,
Sugar Minott,
The Dead C,
Scion,
Fort Wilson Riot,
Fluxion,
Wire,
Bizarre Inc.,
Peter & Gordon,
Siglo XX,
The Standells,
R.M.O.,
H. Thieme,
John Coltrane,
X-101,
Lou Reed,
Schoolly D,
Underground Resistance,
Mr. Review,
The Searchers,
Arab on Radar,
Prince Buster,
Barry Ungar,
Grandmaster Flash,
Erykah Badu,
Roxette,
The Smoke,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Severed Heads,
Gary Puckett & The Union Gap,
Rites of Spring,
Black Pus,
Rufus Thomas,
Marine Girls,
cv313,
T. Rex,
Wolf Eyes,
Bronski Beat,
OOIOO,
Fifty Foot Hose,
The Seeds,
The Black Dice,
Jesper Dahlbäck,
Girls At Our Best!,
Metal Thangz,
Reuben Wilson,
Drive Like Jehu, Drive Like Jehu, Drive Like Jehu, Drive Like Jehu.
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.