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 Tuvalu and from London.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Tehran and Hong Kong.
I'm losing my edge to the art-school Lille 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Ultravox to the dance 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 Sexual Harrassment. All the underground hits.
All Talk Talk tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton 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?
Cecil Taylor,
The Doors,
Lebanon Hanover,
Vainqueur,
AZ,
Chrome,
Fluxion,
Marc Romboy vs. Booka Shade,
Lalo Schifrin,
Kaleidoscope,
The Grass Roots,
The Zeros,
LL Cool J,
Cheater Slicks,
Danielle Patucci,
Black Bananas,
Neil Young,
Sandy B,
the Soft Cell,
Pharoah Sanders,
Surgeon,
Ronan,
EPMD,
Leonard Cohen,
Maleditus Sound,
The Doobie Brothers,
L. Decosne,
Derrick Morgan,
The Selecter,
Marmalade,
D'Angelo,
Underground Resistance,
Ajijia Myrayebe,
Alton Ellis,
Red Lorry Yellow Lorry,
The Evens,
The Durutti Column,
Bob Dylan,
Unwound,
U.S. Maple,
Blossom Toes,
Lou Reed,
Bang On A Can,
Sun City Girls,
Nils Olav,
Zero Boys,
The Dirtbombs,
Alison Limerick,
Loose Ends,
The Golliwogs,
Thompson Twins,
Hot Snakes,
Tubeway Army,
Richard Hell and the Voidoids,
Kings Of Tomorrow,
the Fania All-Stars,
The Fire Engines,
The Toasters,
Heaven 17,
The Dead C,
Barclay James Harvest,
Black Moon,
Interpol,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.