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 Mexico and from Shanghai.
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 Cairo and Copenhagen.
I'm losing my edge to the art-school Tokyo 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Black Pus to the disco kids.
I played it at the Spitz.
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 Sexual Harrassment. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Derrick Morgan 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Nick Fraelich,
The Music Machine,
The Fire Engines,
Fifty Foot Hose,
Talk Talk,
Archie Shepp,
Röyhkä ja Rättö ja Lehtisalo,
Khruangbin,
Gary Puckett & The Union Gap,
London Community Gospel Choir,
The Kinks,
Crash Course in Science,
Hashim,
cv313,
Blancmange,
The Smiths,
The Gladiators,
The Fuzztones,
Black Pus,
Susan Cadogan,
Index,
The Smoke,
Excepter,
Electric Light Orchestra,
This Heat,
Stiv Bators,
Inner City,
Captain Beefheart & His Magic Band,
Man Parrish,
The Moleskins,
Kayak,
Cameo,
Rakim,
Alton Ellis,
Von Mondo,
Ohio Players,
De La Soul & Jungle Brothers,
Stereo Dub,
Banda Bassotti,
Pierre Henry,
Marc Romboy vs. Booka Shade,
Bush Tetras,
Pulsallama,
The Cowsills,
Bootsy's Rubber Band,
Kaleidoscope,
Gong,
Junior Murvin,
The Grass Roots,
Mad Mike,
Big Daddy Kane,
Easy Going,
Jandek,
Gang Gang Dance,
Essential Logic,
Public Enemy,
Rapeman,
Bootsy Collins,
The Residents,
Gichy Dan,
Sam Rivers,
Janne Schatter,
Pharoah Sanders,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.