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 Marshall Islands and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Stockholm and Toronto.
I'm losing my edge to the art-school Woodstock 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 linndrum 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 The Sisters of Mercy 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 Nik Kershaw. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Kerrie Biddell 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 '90s.
I hear you're buying a clarinet and a güiro 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 organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Pete Rock & C.L. Smooth,
Sällskapet,
The Motions,
DJ Style,
Black Sheep,
Archie Shepp,
Vaughan Mason & Crew,
James White and The Blacks,
Mantronix,
Marshall Jefferson,
Can,
Gang Starr,
Flamin' Groovies,
Throbbing Gristle,
The Names,
John Coltrane,
The Gap Band,
Youth Brigade,
Wings,
Motorama,
Soul Sonic Force,
Anakelly,
Lungfish,
Loose Ends,
Amon Düül II,
ABBA,
Delon & Dalcan,
Bootsy's Rubber Band,
Jimmy McGriff,
Technova,
Jeru the Damaja,
Quando Quango,
LL Cool J,
the Normal,
The Invisible,
Man Parrish,
The Men They Couldn't Hang,
PIL,
Ultramagnetic MC's,
Severed Heads,
KRS-One,
The United States of America,
Bauhaus,
K-Klass,
The Dirtbombs,
The Moody Blues,
The Barracudas,
Soft Machine,
In Retrospect,
Pierre Henry,
Ponytail,
Mandrill,
The Smiths,
Fort Wilson Riot,
Albert Ayler,
Cluster,
ABC,
Slave,
Neil Young,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.