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 Slovakia and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1972.
I'm losing my edge.
To all the kids in Jakarta and Winnipeg.
I'm losing my edge to the art-school Portland 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 Lou Reed 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 David Axelrod to the grunge 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 Tubeway Army. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Thee Headcoats record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Jeff Mills record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlback,
The Wake,
The Gladiators,
Thee Headcoats,
Juan Atkins,
Boredoms,
Lalo Schifrin,
Dorothy Ashby,
Popol Vuh,
The Sonics,
James Chance & The Contortions,
Jimmy McGriff,
Pete Rock & C.L. Smooth,
Loose Ends,
These Immortal Souls,
Jesper Dahlbäck,
Ultramagnetic MC's,
Wolf Eyes,
Gregory Isaacs,
The Mummies,
Terry Callier,
Shuggie Otis,
Roy Ayers,
Matthew Bourne,
T.S.O.L.,
Flipper,
Yellowson,
Alison Limerick,
Eve St. Jones,
Groovy Waters,
Notorious BIG live in Amsterdam,
Au Pairs,
Lindisfarne,
Black Sheep,
Lou Reed,
Sällskapet,
The Count Five,
Kurtis Blow,
Tommy Roe,
June of 44,
Thompson Twins,
Danielle Patucci,
Aural Exciters,
Reagan Youth,
Teenage Jesus and the Jerks,
Sun Ra,
Bang on a Can All-Stars,
Echospace,
Tears for Fears,
Deakin,
Carl Craig,
Subhumans,
Desert Stars,
Model 500,
Khruangbin,
Lebanon Hanover,
Bill Near,
Wasted Youth,
Boogie Down Productions,
Gil Scott-Heron & Brian Jackson,
Peter Gordon & Love of Life Orchestra,
Minutemen, Minutemen, Minutemen, Minutemen.
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.