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 Bolivia and from Salvador.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Milan and Winnipeg.
I'm losing my edge to the art-school Milan 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Infiniti to the techno kids.
I played it at Cafe Wha.
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 Vainqueur. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Amon Düül II 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wasted Youth,
Cabaret Voltaire,
Motorama,
Hoover,
Banda Bassotti,
Jerry's Kids,
Crispy Ambulance,
Easy Going,
Mary Jane Girls,
Michelle Simonal,
Buzzcocks,
Tommy Roe,
Can,
Hashim,
The New Christs,
The Velvet Underground,
Bill Wells,
Television,
Mars,
Jeff Lynne,
Pylon,
Slave,
Shoche,
Glenn Branca,
Rhythim Is Rhythim,
Pulsallama,
Isaac Hayes,
Mad Mike,
The Five Americans,
Skriet,
Monolake,
Liaisons Dangereuses,
Brand Nubian,
Josef K,
The Happenings,
The Remains,
Goldenarms,
PIL,
Inner City,
Fort Wilson Riot,
Ultramagnetic MC's,
Orchestral Manoeuvres in the Dark,
Matthew Bourne,
The Divine Comedy,
Fad Gadget,
Eden Ahbez,
MDC,
Peter Gordon & Love of Life Orchestra,
Porter Ricks,
Reuben Wilson,
Robert Hood,
The Litter,
Delta 5,
Deadbeat,
Dark Day,
Lightning Bolt,
Sound Behaviour,
David Axelrod,
Gang Gang Dance,
Sixth Finger,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Hardrive, Hardrive, Hardrive, Hardrive.
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.