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 Macedonia and from Seoul.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Woodstock and Tokyo.
I'm losing my edge to the art-school Accra 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin 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 The Jesus and Mary Chain to the rap kids.
I played it at the 40 Watt.
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 Mission of Burma. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angry Samoans,
Thinking Fellers Union Local 282,
The Stooges,
Black Flag,
Notorious BIG live in Amsterdam,
Scan 7,
Fear,
Kas Product,
H. Thieme,
Hasil Adkins,
X-102,
DNA,
Warsaw,
Ornette Coleman,
cv313,
Scion,
Joey Negro,
One Last Wish,
Manfred Mann's Earth Band,
D'Angelo,
Minnie Riperton,
Kurtis Blow,
The Walker Brothers,
Robert Görl,
Bang On A Can,
Soul Sonic Force,
The Slackers,
Patti Smith,
Sonic Youth,
Barbara Tucker,
In Retrospect,
Mr. Review,
Warren Ellis,
New Age Steppers,
Simply Red,
Bad Manners,
Wasted Youth,
Sad Lovers and Giants,
Barry Ungar,
Newcleus,
The Music Machine,
Electric Prunes,
Symarip,
New York Dolls,
Brick,
Magazine,
The Pop Group,
Gang of Four,
Brand Nubian,
Jesper Dahlback,
Rufus Thomas,
Dead Boys,
Kings Of Tomorrow,
Sight & Sound,
The American Breed,
Drexciya,
Henry Cow,
Marc Almond,
Agent Orange,
Rakim,
The Monks, The Monks, The Monks, The Monks.
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.