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 Bulgaria and from Manchester.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Taipei and Lille.
I'm losing my edge to the art-school Glasgow 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 at the first Suicide practice in a loft in New York.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie 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 Hoover to the techno 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 Jesper Dahlbäck. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every Echo & the Bunnymen 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 '60s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Minor Threat,
Public Enemy,
The Leaves,
The Litter,
Blossom Toes,
Peter and Kerry,
Susan Cadogan,
MC5,
Grandmaster Flash,
Idris Muhammad,
Tim Buckley,
John Cale,
Alphaville,
Rod Modell,
Siouxsie and the Banshees,
Crispian St. Peters,
The Stooges,
Delta 5,
Scratch Acid,
Anthony Braxton,
K-Klass,
Bobby Sherman,
The Toasters,
Monolake,
The Gap Band,
John Holt,
Scott Walker,
Ohio Players,
Todd Rundgren,
Kaleidoscope,
Sun Ra,
The Seeds,
Cal Tjader,
Groovy Waters,
Barclay James Harvest,
Jawbox,
Severed Heads,
Cameo,
Bauhaus,
Larry & the Blue Notes,
The Pretty Things,
Crooked Eye,
Warsaw,
Lou Reed & John Cale,
Kevin Saunderson,
Ornette Coleman,
Faraquet,
Radio Birdman,
Howard Jones,
Skarface,
Althea and Donna,
The Smoke,
The United States of America,
Alice Coltrane,
Marvin Gaye,
The Moody Blues,
Q and Not U,
Accadde A,
Cecil Taylor,
Freddie Wadling,
Harry Pussy, Harry Pussy, Harry Pussy, Harry Pussy.
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.