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 United States and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Halifax.
I'm losing my edge to the art-school Mumbai 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 organ 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 Maurizio to the grime 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 New Age Steppers. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Jeff Mills record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Joey Negro,
48th St. Collective,
Kango’s Stein Massive,
Hashim,
Joensuu 1685,
Angry Samoans,
Barry Ungar,
Michelle Simonal,
Lebanon Hanover,
Echo & the Bunnymen,
Mary Jane Girls,
Pantaleimon,
Banda Bassotti,
DNA,
The Associates,
The Offenders,
The Monochrome Set,
Scott Walker,
The Residents,
Funky Four + One,
Ponytail,
Faraquet,
Schoolly D,
Ituana,
Alison Limerick,
Super Lover Cee & Casanova Rud,
Alphaville,
A Flock of Seagulls,
Depeche Mode,
Hoover,
Jacques Brel,
Harry Pussy,
Rekid,
a-ha,
Severed Heads,
The Angels of Light,
Sight & Sound,
The Pretty Things,
Sonny Sharrock,
Flipper,
Minnie Riperton,
Lalann,
The Standells,
Chris Corsano,
The Tremeloes,
Frankie Knuckles,
Wings,
China Crisis,
Model 500,
Fifty Foot Hose,
Kurtis Blow,
The Fuzztones,
Howard Jones,
Cymande,
David McCallum,
Beasts of Bourbon,
Thinking Fellers Union Local 282,
KRS-One,
Be Bop Deluxe,
Nils Olav,
Tears for Fears,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
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.