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 Gambia and from Cairo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Paris and Edmonton.
I'm losing my edge to the art-school Shanghai 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 arpeggiator 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 Throbbing Gristle to the electroclash kids.
I played it at the Astoria.
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 This Heat. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
The Sisters of Mercy,
Sonny Sharrock,
Dual Sessions,
Bad Manners,
Peter and Kerry,
Minnie Riperton,
Eric Copeland,
Lakeside,
Fifty Foot Hose,
Ornette Coleman,
The Seeds,
The Fire Engines,
Man Eating Sloth,
Kurtis Blow,
FM Einheit,
Pete Rock & C.L. Smooth,
In Retrospect,
Fatback Band,
10cc,
The New Christs,
Bob Dylan,
R.M.O.,
Roy Ayers Ubiquity,
The J.B.'s,
Public Enemy,
Nick Fraelich,
Strawberry Alarm Clock,
Bobby Hutcherson,
48th St. Collective,
Excepter,
The Offenders,
London Community Gospel Choir,
The Busters,
Funkadelic,
Altered Images,
Franke,
Terrestrial Tones,
Grauzone,
Livin' Joy,
The Detroit Cobras,
Art Ensemble Of Chicago,
Rufus Thomas,
Hardrive,
Mandrill,
China Crisis,
Urselle,
Cluster,
Magma,
Leonard Cohen,
Bizarre Inc.,
Deutsch Amerikanische Freundschaft,
Gang of Four,
Nas,
The Mojo Men,
Lou Reed,
Bang On A Can,
Peter Gordon & Love of Life Orchestra,
Young Marble Giants,
Kaleidoscope,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.