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 El Salvador and from Lille.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Bremen and Milan.
I'm losing my edge to the art-school Cairo 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Juan Atkins to the punk 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 Public Enemy. All the underground hits.
All Lindisfarne tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Jerry Gold Smith,
Shoche,
Marmalade,
The Move,
Sugar Minott,
Camron Feat. Memphis Bleek And Beenie Seigel,
Parry Music,
the Slits,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Remains,
The Techniques,
Index,
A Flock of Seagulls,
Metal Thangz,
Nirvana,
U.S. Maple,
The Alarm Clocks,
Khruangbin,
Franke,
F. McDonald,
Howard Jones,
The Mummies,
Eric Copeland,
The New Christs,
Rowland S Howard / Lydia Lunch,
Lou Reed & Metallica,
Faust,
Audionom,
Pierre Henry,
Magma,
Rekid,
Slick Rick,
Pylon,
Liaisons Dangereuses,
Robert Wyatt,
Pere Ubu,
Moby Grape,
Bob Dylan,
The Real Kids,
Cheater Slicks,
The Five Americans,
Cabaret Voltaire,
The Young Rascals,
ABC,
Lafayette Afro Rock Band,
June Days,
Graham Central Station,
Country Joe & The Fish,
Arcadia,
Eddi Front,
Flipper,
kango's stein massive,
The Misunderstood,
Barry Ungar,
Sonic Youth,
Lebanon Hanover,
Porter Ricks,
James Chance & The Contortions,
The Last Poets,
London Community Gospel Choir,
The Cramps,
The Happenings,
Bobby Byrd, Bobby Byrd, Bobby Byrd, Bobby Byrd.
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.