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 Swaziland and from Bremen.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Lille and Portland.
I'm losing my edge to the art-school Calgary 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 clarinet 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 Arthur Verocai to the techno 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 The Beau Brummels. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Donald Byrd 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
The Moody Blues,
Morten Harket,
Interpol,
Popol Vuh,
Byron Stingily,
Oppenheimer Analysis,
Livin' Joy,
Second Layer,
Chrome,
Quando Quango,
Skaos,
Slave,
Oneida,
Pylon,
Q and Not U,
Henry Cow,
the Soft Cell,
Andrew Ashong & Theo Parrish,
Mo-Dettes,
Spoonie Gee,
Sunsets and Hearts,
Grey Daturas,
Todd Rundgren,
Easy Going,
Franke,
Bobby Womack,
Sun Ra Arkestra,
Roger Hodgson,
Tropical Tobacco,
Strawberry Alarm Clock,
Flamin' Groovies,
Gil Scott Heron,
Carl Craig,
The Cowsills,
PIL,
Derrick Morgan,
The Associates,
Lower 48,
The Alarm Clocks,
Negative Approach,
A Flock of Seagulls,
Traffic Nightmare,
Isaac Hayes,
Whodini,
OOIOO,
Eric Dolphy,
Kaleidoscope,
Todd Terry,
Faust,
Pere Ubu,
Electric Light Orchestra,
Rahsaan Roland Kirk,
The Smoke,
kango's stein massive,
X-102,
Scott Walker + Sunn O))),
Manfred Mann's Earth Band,
Lou Reed & John Cale,
Eddi Front,
DJ Style,
EPMD,
Lebanon Hanover,
Nas, Nas, Nas, Nas.
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.