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 Rwanda and from Jakarta.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Seoul and Accra.
I'm losing my edge to the art-school Calgary 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 oboe sounds with much patience.
I was there when Michael McDonald 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 Pussy Galore to the grime kids.
I played it at the Roxy.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal techno 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 theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
The Motions,
Byron Stingily,
Lonnie Liston Smith,
The Durutti Column,
Ten City,
Parry Music,
Nik Kershaw,
Nick Fraelich,
Nico,
Lightning Bolt,
Skriet,
Tears for Fears,
Echo & the Bunnymen,
David Bowie,
Adolescents,
James Chance & The Contortions,
Alton Ellis,
Subhumans,
Freddie Wadling,
X-102,
Intrusion,
Pagans,
Technova,
Ornette Coleman,
Bobby Sherman,
10cc,
Beasts of Bourbon,
The Count Five,
Gang Gang Dance,
Ultra Naté,
Moss Icon,
Cecil Taylor,
Matthew Halsall,
This Heat,
Simply Red,
Qualms,
Kool Moe Dee,
Electric Prunes,
Circle Jerks,
De La Soul & Jungle Brothers,
World's Most,
Saccharine Trust,
Pharoah Sanders,
ABBA,
Pantaleimon,
Pere Ubu,
The Dave Clark Five,
Dennis Brown,
Al Stewart,
Funky Four + One,
Todd Terry,
Roy Ayers Ubiquity,
Kas Product,
Thompson Twins,
Section 25,
Vainqueur,
Crime,
Kauko Röyhkä ja Narttu,
Eli Mardock,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.