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 Palau and from Madrid.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Jakarta.
I'm losing my edge to the art-school Delhi 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 organ sounds with much patience.
I was there when David Bowie 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 Avey Tare & Kría Brekkan to the techno kids.
I played it at the Spitz.
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 The Fortunes. All the underground hits.
All Delon & Dalcan tracks. I heard you have a vinyl of every The Black Dice record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kas Product record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
F. McDonald,
Cybotron,
The Residents,
The Dead C,
Notorious Big And Bone Thugs,
Roy Ayers,
Dark Day,
Masters at Work,
The Dirtbombs,
Colin Newman,
Nirvana,
The Blackbyrds,
Television,
Soul Sonic Force,
Byron Stingily,
Peter & Gordon,
Flipper,
Henry Cow,
Metal Thangz,
Unrelated Segments,
The Black Dice,
Kenny Larkin,
Gregory Isaacs,
Amazonics,
Avey Tare's Slasher Flicks,
Chrome,
Bizarre Inc.,
10cc,
Loose Ends,
Skarface,
The Gories,
The Associates,
Skaos,
Pole,
Can,
Rotary Connection,
Outsiders,
Steve Hackett,
Severed Heads,
Wolf Eyes,
The Young Rascals,
Prince Buster,
Newcleus,
Electric Light Orchestra,
Jeff Mills,
Cabaret Voltaire,
Peter Gordon & Love of Life Orchestra,
Louis and Bebe Barron,
Marshall Jefferson,
The Monochrome Set,
The Fall,
DJ Style,
the Fania All-Stars,
Public Image Ltd.,
Arcadia,
CMW,
Kool G Rap & DJ Polo,
Supertramp,
Sun Ra Arkestra,
Country Teasers,
Brass Construction,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.