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 Dominica and from Madrid.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Stockholm and London.
I'm losing my edge to the art-school Beijing 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Sticky Fingaz feat. Raekwon to the punk 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 Moss Icon. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Procol Harum record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eric B and Rakim record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
Donny Hathaway,
Howard Jones,
Kango’s Stein Massive,
Michelle Simonal,
Wire,
X-Ray Spex,
Electric Prunes,
Avey Tare's Slasher Flicks,
Colin Newman,
Arab on Radar,
Nico,
The Gladiators,
David Axelrod,
Grauzone,
Altered Images,
Flamin' Groovies,
Tim Buckley,
Deutsch Amerikanische Freundschaft,
Joey Negro,
Thinking Fellers Union Local 282,
the Fania All-Stars,
Marc Almond,
The Gap Band,
Henry Cow,
Boz Scaggs,
Wally Richardson,
The Monks,
Archie Shepp,
the Association,
K-Klass,
Mars,
Pulsallama,
Bobby Sherman,
The Associates,
B.T. Express,
A Flock of Seagulls,
Eric Dolphy,
Mo-Dettes,
Peter & Gordon,
The Misunderstood,
Mr. Review,
Das Ding,
Cybotron,
kango's stein massive,
Heavy D & The Boyz,
Crash Course in Science,
Faust,
Avey Tare,
Pharoah Sanders,
Gian Franco Pienzio,
Lightning Bolt,
Joe Smooth,
Robert Görl,
Morten Harket,
Jimmy McGriff,
Todd Terry,
The Cramps,
Skaos,
Jesper Dahlback,
Duran Duran,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.