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 El Salvador and from Manila.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Bremen and Winnipeg.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Letta Mbulu to the electroclash kids.
I played it at Trash.
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 Todd Rundgren. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Lakeside record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Jesper Dahlbäck,
Soul II Soul,
Danielle Patucci,
Joensuu 1685,
The Moody Blues,
Nation of Ulysses,
Anthony Braxton,
John Lydon,
Deakin,
Mo-Dettes,
The Flesh Eaters,
Maleditus Sound,
Sight & Sound,
The Monochrome Set,
China Crisis,
Don Cherry,
Flash Fearless,
Lebanon Hanover,
Quadrant,
Piero Umiliani,
Byron Stingily,
Marmalade,
Richard Hell and the Voidoids,
Yellowson,
Mark Hollis,
Alison Limerick,
The Evens,
The Gun Club,
Gong,
The Monks,
New Age Steppers,
Siglo XX,
FM Einheit,
Loose Ends,
The Leaves,
Swell Maps,
The Smoke,
The Alarm Clocks,
Pulsallama,
Dark Day,
Monolake,
Rakim,
Soft Machine,
Eric B and Rakim,
Alton Ellis,
Altered Images,
Eve St. Jones,
Marc Almond,
The Tremeloes,
Eric Dolphy,
Fort Wilson Riot,
Anakelly,
Cluster,
The Standells,
Al Stewart,
Jimmy McGriff,
Guru Guru,
Davy DMX,
Neu!,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.