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 Mauritania and from Sao Paulo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Toronto and Philadelphia.
I'm losing my edge to the art-school Bologna 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 Idris Muhammad to the crunk 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 Spoonie Gee. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Skriet 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 synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Mandrill,
The Selecter,
Rotary Connection,
Echospace,
Agent Orange,
The Five Americans,
Lou Reed & John Cale,
Ultimate Spinach,
X-101,
Deakin,
Suburban Knight,
Joe Finger,
Pylon,
Black Sheep,
Amazonics,
Scratch Acid,
Neu!,
Aaron Thompson,
The Tremeloes,
Johnny Clarke,
Lee Hazlewood,
Bang On A Can,
8 Eyed Spy,
John Foxx,
Scientists,
Judy Mowatt,
The Alarm Clocks,
Sugar Minott,
The Mojo Men,
Mr. Review,
Pagans,
Minnie Riperton,
The Young Rascals,
Dave Gahan,
Wolf Eyes,
The Kinks,
the Slits,
kango's stein massive,
Supertramp,
Robert Wyatt,
The United States of America,
David McCallum,
The Mummies,
Robert Hood,
The Victims,
Laurel Aitken,
Audionom,
Japan,
Silicon Teens,
Fat Boys,
The Grass Roots,
The Trojans,
CMW,
48th St. Collective,
Buzzcocks,
Jeff Lynne,
The Music Machine,
The Slits,
Animal Collective,
Metal Thangz,
D'Angelo,
The Toasters,
Yaz, Yaz, Yaz, Yaz.
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.