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 Switzerland and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Spokane.
I'm losing my edge to the art-school Jakarta 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 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 Eric Copeland to the punk kids.
I played it at the 40 Watt.
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 Flash Fearless. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Hardrive record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeru the Damaja,
Electric Light Orchestra,
London Community Gospel Choir,
Pantytec,
Steve Hackett,
Dr. Dre and Snoop Doggy Dog,
The Skatalites,
The Associates,
Rapeman,
This Heat,
Deepchord,
Fat Boys,
Pantaleimon,
Ultravox,
Man Parrish,
Barbara Tucker,
The Cure,
the Swans,
Angels of Light & Akron/Family,
Pierre Henry,
Aural Exciters,
Terry Callier,
Electric Prunes,
The Barracudas,
Porter Ricks,
Brand Nubian,
The Young Rascals,
The Walker Brothers,
Accadde A,
Symarip,
Jerry Gold Smith,
Half Japanese,
the Association,
Lyres,
Bush Tetras,
The Smiths,
Skaos,
Ten City,
FM Einheit,
Talk Talk,
Basic Channel,
Ultra Naté,
Ken Boothe,
Aswad,
The Golliwogs,
Avey Tare's Slasher Flicks,
Lou Christie,
Vladislav Delay,
R.M.O.,
Popol Vuh,
Chris & Cosey,
Spandau Ballet,
Amon Düül II,
The Neon Judgement,
Scratch Acid,
Wally Richardson,
Mad Mike,
Drexciya,
Rhythm & Sound,
Man Eating Sloth,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.