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 Trinidad & Tobago and from Bremen.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Toronto 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Masters at Work to the grunge kids.
I played it at the Hacienda.
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 Television. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Gang Gang Dance 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 '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
The Real Kids,
Todd Terry,
Sister Nancy,
Altered Images,
Major Organ And The Adding Machine,
Porter Ricks,
Von Mondo,
Avey Tare's Slasher Flicks,
Boredoms,
Scrapy,
Los Fastidios,
Aloha Tigers,
The Monochrome Set,
The Doobie Brothers,
Accadde A,
Subhumans,
Urselle,
Visage,
Kas Product,
Roxette,
Pulsallama,
Oneida,
Agitation Free,
Icehouse,
Strawberry Alarm Clock,
The Smiths,
The Busters,
The Fugs,
Grandmaster Flash,
Kaleidoscope,
Fort Wilson Riot,
Peter and Kerry,
Lucky Dragons,
Kayak,
The Fortunes,
Unrelated Segments,
A Certain Ratio,
L. Decosne,
Avey Tare & Kría Brekkan,
Rufus Thomas,
U.S. Maple,
Albert Ayler,
EPMD,
Magma,
John Lydon,
Pete Rock & C.L. Smooth,
kango's stein massive,
The Remains,
Ice-T,
Pylon,
The Angels of Light,
Skriet,
Alton Ellis,
The Gories,
Radiopuhelimet,
Mars,
The Human League,
Bobby Womack,
The Detroit Cobras,
Jimmy McGriff,
This Heat,
The Slits,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.