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 Armenia and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Lyon and Columbus.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator 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 Lungfish to the crunk kids.
I played it at Cafe Wha.
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 Country Teasers. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every Marc Almond 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your clarinet and bought a snare.
I hear that you and your band have sold your snare and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
B.T. Express,
The Vogues,
Avey Tare,
Sam Rivers,
AZ,
Albert Ayler,
Wire,
Jacob Miller,
Cymande,
The Fire Engines,
Faraquet,
Grandmaster Flash,
Oppenheimer Analysis,
Simply Red,
Deakin,
Liaisons Dangereuses,
Cameo,
The Martian,
Eurythmics,
Super Lover Cee & Casanova Rud,
Lizzy Mercier Descloux,
Fad Gadget,
Vainqueur,
The New Christs,
Derrick Morgan,
Little Man,
Joe Smooth,
Johnny Clarke,
Dorothy Ashby,
Tropical Tobacco,
Moss Icon,
It's A Beautiful Day,
Traffic Nightmare,
Sister Nancy,
ABC,
Siglo XX,
Aswad,
Accadde A,
Mad Mike,
Rites of Spring,
Kerrie Biddell,
Lou Reed,
Radiopuhelimet,
Section 25,
Unrelated Segments,
Darondo,
Althea and Donna,
Orchestral Manoeuvres in the Dark,
kango's stein massive,
The Five Americans,
Terry Callier,
Vaughan Mason & Crew,
E-Dancer,
Maleditus Sound,
Hardrive,
Los Fastidios,
Röyhkä ja Rättö ja Lehtisalo,
The Star Department,
The Gap Band,
Agitation Free,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.