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 Ghana and from Johannesburg.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Mumbai.
I'm losing my edge to the art-school Hong Kong 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 Captain Beefheart 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 Traffic Nightmare to the electroclash kids.
I played it at Cafe Wha.
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 Isaac Hayes. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Dave Clark Five record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
London Community Gospel Choir,
Boz Scaggs,
Wire,
Peter & Gordon,
The Raincoats,
Newcleus,
the Slits,
H. Thieme,
Todd Terry,
Thee Headcoats,
Cluster,
Quadrant,
Fort Wilson Riot,
Minor Threat,
Drexciya,
Jesper Dahlback,
Camouflage,
Judy Mowatt,
Metal Thangz,
The Index,
Gichy Dan,
The Fugs,
Mark Hollis,
Godley & Creme,
Royal Trux,
Supertramp,
Zero Boys,
Kool G Rap & DJ Polo,
MDC,
Rapeman,
Prince Buster,
Lower 48,
The Velvet Underground,
Art Ensemble Of Chicago,
The Alarm Clocks,
Crooked Eye,
The Men They Couldn't Hang,
Terry Callier,
The Misunderstood,
Danielle Patucci,
The Mojo Men,
Scott Walker + Sunn O))),
Silicon Teens,
F. McDonald,
Bob Dylan,
The Residents,
Talk Talk,
Barbara Tucker,
Charles Mingus,
The Cowsills,
Gang of Four,
John Holt,
Angels of Light & Akron/Family,
Kerri Chandler,
Crime,
Connie Case,
Tim Buckley,
Neil Young,
Orchestral Manoeuvres in the Dark,
Massinfluence,
Aswad,
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.