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 Palau and from Tehran.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Beijing and Tehran.
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 1968 at the first Can practice in a loft in Cologne.
I was working on the sitar 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 Average White Band to the rock kids.
I played it at the Roxy.
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 James Chance & The Contortions. All the underground hits.
All Nation of Ulysses tracks. I heard you have a vinyl of every Roxette 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 '70s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet 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?
Public Image Ltd.,
The Black Dice,
Johnny Clarke,
The Cure,
Flamin' Groovies,
Accadde A,
Unwound,
Ken Boothe,
The Men They Couldn't Hang,
Model 500,
Barbara Tucker,
Strawberry Alarm Clock,
Colin Newman,
Erasure,
Roy Ayers Ubiquity,
Derrick May,
Marcia Griffiths,
The American Breed,
EPMD,
Thinking Fellers Union Local 282,
June of 44,
Robert Hood,
Bizarre Inc.,
The Moody Blues,
John Lydon,
Aural Exciters,
The Blues Magoos,
Josef K,
John Coltrane,
Organ,
Aswad,
Grandmaster Flash,
Pylon,
Pere Ubu,
The Gap Band,
Hardrive,
CMW,
Make Up,
T.S.O.L.,
Con Funk Shun,
Rowland S Howard / Lydia Lunch,
Todd Terry,
Yellowson,
Sun Ra Arkestra,
Infiniti,
Goldenarms,
Neil Young & Crazy Horse,
The Standells,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
the Fania All-Stars,
Ponytail,
Chris & Cosey,
Archie Shepp,
Radiohead,
R.M.O.,
Scrapy,
Qualms,
Suicide,
Negative Approach,
Scan 7,
The Move,
Art Ensemble Of Chicago,
Scientists, Scientists, Scientists, Scientists.
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.