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 Paraguay and from Glasgow.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Tokyo.
I'm losing my edge to the art-school Copenhagen 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 chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Aural Exciters to the techno kids.
I played it at the Crocodile.
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 Magazine. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Dr. Dre and Snoop Doggy Dog record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shuggie Otis,
Marc Romboy vs. Booka Shade,
Mantronix,
Rites of Spring,
Y Pants,
Charles Mingus,
Scan 7,
Public Enemy,
Terror Squad Feat. Camron,
Big Daddy Kane,
Soft Cell,
Byron Stingily,
Lebanon Hanover,
Black Sheep,
Delta 5,
Dark Day,
F. McDonald,
Derrick May,
Strawberry Alarm Clock,
Bobby Byrd,
Monolake,
Scion,
Stockholm Monsters,
De La Soul & Jungle Brothers,
Alphaville,
Bronski Beat,
Grey Daturas,
Adolescents,
Jawbox,
Roy Ayers Ubiquity,
Severed Heads,
Marvin Gaye,
Joensuu 1685,
Scott Walker,
Mo-Dettes,
Reagan Youth,
The Golliwogs,
Duran Duran,
Flipper,
X-102,
Television,
Bluetip,
Echo & the Bunnymen,
The Flesh Eaters,
Goldenarms,
Parry Music,
The Dirtbombs,
E-Dancer,
Animal Collective,
Little Man,
Gastr Del Sol,
Japan,
The Offenders,
New York Dolls,
Gang of Four,
Marshall Jefferson,
The Real Kids,
The Seeds,
Matthew Halsall,
The Monochrome Set,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.