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 Equatorial Guinea and from Copenhagen.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
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 spring reverb 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 Be Bop Deluxe to the funk kids.
I played it at the Spitz.
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 Joe Smooth. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your organ and bought a guitar.
I hear that you and your band have sold your guitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
Rowland S Howard / Lydia Lunch,
Joe Smooth,
Babytalk,
The Motions,
The Happenings,
48th St. Collective,
The Skatalites,
Peter and Kerry,
Desert Stars,
A Flock of Seagulls,
De La Soul & Jungle Brothers,
The Offenders,
Chris & Cosey,
Tim Buckley,
Bobbi Humphrey,
Dawn Penn,
Khruangbin,
The Mojo Men,
Harmonia,
Porter Ricks,
Dark Day,
Lower 48,
Matthew Bourne,
Essential Logic,
Cymande,
Black Moon,
Man Parrish,
Avey Tare,
Sound Behaviour,
Suicide,
Loose Ends,
Crispy Ambulance,
Cluster,
The Toasters,
New York Dolls,
Groovy Waters,
Radiopuhelimet,
The Index,
Deepchord,
Janne Schatter,
Alice Coltrane,
The Slackers,
Model 500,
The Peanut Butter Conspiracy,
Minutemen,
Matthew Halsall,
Freddie Wadling,
The Move,
Cabaret Voltaire,
Electric Prunes,
Sun City Girls,
Scientists,
Crispian St. Peters,
Pole,
Dennis Brown,
Mars,
Scan 7,
The Monks,
Mad Mike,
Nils Olav, Nils Olav, Nils Olav, Nils Olav.
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.