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 Benin and from Lagos.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Spokane and Accra.
I'm losing my edge to the art-school Calgary 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 organ sounds with much patience.
I was there when Lou Reed 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 Traffic Nightmare to the techno kids.
I played it at the Troubador.
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 Godley & Creme. All the underground hits.
All Jeff Mills tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Cecil Taylor,
Strawberry Alarm Clock,
L. Decosne,
Todd Terry,
Johnny Clarke,
The Victims,
ABBA,
Bill Near,
The Toasters,
Flipper,
Lakeside,
Lalann,
Sällskapet,
The West Coast Pop Art Experimental Band,
a-ha,
The Fuzztones,
the Normal,
Harpers Bizarre,
Faust,
Joyce Sims,
Jeff Lynne,
The Knickerbockers,
Motorama,
Soft Machine,
Amazonics,
the Association,
Arcadia,
Lebanon Hanover,
China Crisis,
Eden Ahbez,
Sound Behaviour,
The Remains,
The Neon Judgement,
The Gladiators,
Cluster,
Television Personalities,
Soulsonic Force,
Janne Schatter,
Agent Orange,
Chris & Cosey,
Warsaw,
Jeff Mills,
The Young Rascals,
Harmonia,
The Smiths,
Von Mondo,
Tommy Roe,
Dark Day,
Stiv Bators,
Colin Newman,
Gil Scott-Heron and Jamie xx,
Juan Atkins,
Joy Division,
Sonny Sharrock,
Niagra,
Yaz,
The Buckinghams,
Anakelly,
Anthony Braxton,
Ash Ra Tempel,
The Jesus and Mary Chain,
CMW,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.