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 Algeria and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Manchester.
I'm losing my edge to the art-school Mexico City 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 linndrum 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 Jacob Miller to the grunge 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 Absolute Body Control. All the underground hits.
All Nick Cave & The Bad Seeds tracks. I heard you have a vinyl of every Deepchord 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 rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlback record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
Man Eating Sloth,
The Neon Judgement,
The West Coast Pop Art Experimental Band,
Massinfluence,
Eli Mardock,
Ash Ra Tempel,
Isaac Hayes,
The Mighty Diamonds,
Lucky Dragons,
Lightning Bolt,
Cal Tjader,
The Leaves,
Ten City,
Sexual Harrassment,
Bill Wells,
Todd Rundgren,
The Selecter,
Thee Headcoats,
Funkadelic,
Kool G Rap & DJ Polo,
Tropical Tobacco,
Sixth Finger,
kango's stein massive,
Flash Fearless,
Glambeats Corp.,
Funky Four + One,
Röyhkä ja Rättö ja Lehtisalo,
New Order,
The Trojans,
Icehouse,
These Immortal Souls,
Liliput,
Girls At Our Best!,
London Community Gospel Choir,
DJ Style,
L. Decosne,
the Sonics,
Metal Thangz,
David McCallum,
Jawbox,
Ossler,
Severed Heads,
New Age Steppers,
Angry Samoans,
Harpers Bizarre,
Soft Cell,
China Crisis,
Minny Pops,
Kings Of Tomorrow,
Peter Gordon & Love of Life Orchestra,
The Smiths,
Nas,
James Chance & The Contortions,
Royal Trux,
Electric Prunes,
The Mummies,
A Flock of Seagulls,
The Toasters,
Sticky Fingaz feat. Raekwon, Sticky Fingaz feat. Raekwon, Sticky Fingaz feat. Raekwon, Sticky Fingaz feat. Raekwon.
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.