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 Bangladesh and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1977.
I'm losing my edge.
To all the kids in Calgary and Sao Paulo.
I'm losing my edge to the art-school Milan 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Young Marble Giants to the funk 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 Television. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Sonics record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Freddie Wadling,
A Certain Ratio,
Camberwell Now,
The Neon Judgement,
The Mojo Men,
Gang of Four,
Robert Görl,
kango's stein massive,
Donny Hathaway,
Nik Kershaw,
Soft Machine,
Lightning Bolt,
Lower 48,
Ohio Players,
MDC,
Tears for Fears,
Anthony Braxton,
Oneida,
Gregory Isaacs,
Black Sheep,
The Velvet Underground,
48th St. Collective,
Hoover,
Michelle Simonal,
The Trojans,
The Toasters,
L. Decosne,
Rotary Connection,
Echo & the Bunnymen,
The Knickerbockers,
Delon & Dalcan,
The Gap Band,
Gary Puckett & The Union Gap,
Bootsy's Rubber Band,
Cymande,
Dark Day,
Traffic Nightmare,
Blossom Toes,
Surgeon,
James Chance & The Contortions,
Accadde A,
PIL,
Pantytec,
Bizarre Inc.,
Al Stewart,
Loose Ends,
Liaisons Dangereuses,
Minnie Riperton,
Wings,
The Modern Lovers,
MC5,
Underground Resistance,
The Mummies,
June Days,
Half Japanese,
Connie Case,
K-Klass,
Lou Reed & Metallica,
Sam Rivers,
The Walker Brothers,
Erasure,
Harmonia, Harmonia, Harmonia, Harmonia.
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.