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 Thailand and from Beijing.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Mumbai 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the sitar sounds with much patience.
I was there when Captain Beefheart 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 Gil Scott-Heron and Jamie xx to the grime 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 Isaac Hayes. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Hardrive,
Big Daddy Kane,
Outsiders,
Public Image Ltd.,
Sunsets and Hearts,
Stockholm Monsters,
Grauzone,
Juan Atkins,
Sticky Fingaz feat. Raekwon,
cv313,
Toni Rubio,
Wings,
Red Lorry Yellow Lorry,
Faust,
Echo & the Bunnymen,
Lizzy Mercier Descloux,
Alice Coltrane,
The Cosmic Jokers,
Sun Ra,
The Vogues,
Lungfish,
Bizarre Inc.,
Bill Near,
Byron Stingily,
The Saints,
Joe Smooth,
Stetsasonic,
James Chance & The Contortions,
K-Klass,
Michelle Simonal,
Kevin Saunderson,
Kerrie Biddell,
Black Flag,
48th St. Collective,
the Association,
EPMD,
The Shadows of Knight,
Pharoah Sanders,
Aural Exciters,
Con Funk Shun,
KRS-One,
The Knickerbockers,
Infiniti,
New York Dolls,
Bang on a Can All-Stars,
June of 44,
Roxette,
the Sonics,
Massinfluence,
The Remains,
Traffic Nightmare,
Major Organ And The Adding Machine,
The Red Krayola,
Cabaret Voltaire,
Boredoms,
Todd Rundgren,
Glambeats Corp.,
AZ,
Nation of Ulysses,
Minutemen,
Jerry Gold Smith,
The Angels of Light,
The Peanut Butter Conspiracy,
Amazonics, Amazonics, Amazonics, Amazonics.
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.