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 Samoa and from Lille.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Toronto 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 güiro sounds with much patience.
I was there when Lou Reed 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 Davy DMX to the rock 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 Radiopuhelimet. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Electric Light Orchestra 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Bootsy Collins,
Country Joe & The Fish,
Chris & Cosey,
The Peanut Butter Conspiracy,
Ultimate Spinach,
This Heat,
Lyres,
Symarip,
The Litter,
Larry & the Blue Notes,
John Foxx,
Smog,
KRS-One,
Jawbox,
Boz Scaggs,
Gastr Del Sol,
LL Cool J,
Michelle Simonal,
Visage,
Sparks,
The Five Americans,
Sandy B,
Bill Wells,
Johnny Clarke,
kango's stein massive,
Moebius,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Röyhkä ja Rättö ja Lehtisalo,
the Human League,
Ornette Coleman,
Fugazi,
Sixth Finger,
Jesper Dahlback,
Electric Light Orchestra,
The Victims,
Janne Schatter,
Radiohead,
Gil Scott-Heron & Brian Jackson,
the Slits,
The Walker Brothers,
Lebanon Hanover,
The Cowsills,
The Moleskins,
Qualms,
Eurythmics,
New Age Steppers,
Adolescents,
Interpol,
Bizarre Inc.,
Lucky Dragons,
Sexual Harrassment,
The Last Poets,
The Royal Family And The Poor,
Barbara Tucker,
Scott Walker,
The Real Kids,
The Skatalites,
James Chance & The Contortions,
Make Up,
Rekid,
Juan Atkins,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.