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 Hungary and from Jakarta.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Madrid and Jakarta.
I'm losing my edge to the art-school Glasgow 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 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 Albert Ayler to the electroclash kids.
I played it at CBGB's.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal funk 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 a 808 and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sexual Harrassment,
Justin Hinds & The Dominoes,
Chris & Cosey,
Warsaw,
Jerry's Kids,
Max Romeo,
The Royal Family And The Poor,
Crispian St. Peters,
Lou Christie,
Das Ding,
Joe Smooth,
Faust,
Magazine,
The Shadows of Knight,
Tomorrow,
The Walker Brothers,
Peter and Kerry,
China Crisis,
Maurizio,
Goldenarms,
Kings Of Tomorrow,
Flipper,
The Mummies,
Peter Gordon & Love of Life Orchestra,
Cabaret Voltaire,
Amazonics,
Alton Ellis,
Bush Tetras,
Bobby Hutcherson,
Sister Nancy,
Wings,
World's Most,
Schoolly D,
Gastr Del Sol,
Dorothy Ashby,
Manfred Mann's Earth Band,
Gang Green,
Sam Rivers,
The Black Dice,
The Star Department,
Sound Behaviour,
Robert Hood,
Colin Newman,
Maleditus Sound,
Rapeman,
The Fuzztones,
Siglo XX,
Minor Threat,
Barrington Levy,
Kerri Chandler,
Thee Headcoats,
The Vogues,
Neu!,
Grey Daturas,
the Normal,
ABBA,
Jawbox,
Charles Mingus,
Arcadia,
Blancmange,
Scott Walker,
Erasure,
The Human League, The Human League, The Human League, The Human League.
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.