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 Mauritius and from Winnipeg.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and New York.
I'm losing my edge to the art-school New York 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron 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 Mark Hollis 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 the Bar-Kays. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every The American Breed 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Peter Gordon & Love of Life Orchestra,
Eden Ahbez,
Eli Mardock,
Kenny Larkin,
Lou Reed,
Sun Ra,
Country Teasers,
Major Organ And The Adding Machine,
Hashim,
Arab on Radar,
U.S. Maple,
Whodini,
Loose Ends,
Porter Ricks,
OOIOO,
Deakin,
Amazonics,
Maleditus Sound,
The Sound,
Talk Talk,
Gang of Four,
Bush Tetras,
The Fortunes,
Echo & the Bunnymen,
Fluxion,
Second Layer,
Icehouse,
Youth Brigade,
Sixth Finger,
Freddie Wadling,
Electric Prunes,
Bauhaus,
June Days,
Alice Coltrane,
Pantaleimon,
Ituana,
Quantec,
Royal Trux,
The Cowsills,
Barrington Levy,
Scan 7,
Public Image Ltd.,
Y Pants,
Isaac Hayes,
Von Mondo,
Jesper Dahlback,
The Leaves,
Juan Atkins,
Deutsch Amerikanische Freundschaft,
The Divine Comedy,
Black Flag,
Delon & Dalcan,
The Monks,
The Standells,
Fela Kuti,
Beasts of Bourbon,
Albert Ayler,
Dennis Brown,
Tubeway Army,
Ohio Players,
Mars,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.