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 Sudan and from Paris.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Paris.
I'm losing my edge to the art-school Delhi 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Oblivians to the electroclash kids.
I played it at the Crocodile.
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 Lizzy Mercier Descloux. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Fatback Band 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Eyeless In Gaza record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Sam Rivers,
Big Daddy Kane,
Johnny Clarke,
Joe Smooth,
Joey Negro,
The Vogues,
Bush Tetras,
Super Lover Cee & Casanova Rud,
Barry Ungar,
Jacques Brel,
Stiv Bators,
Pet Shop Boys,
Bobby Hutcherson,
Lee Hazlewood,
Radiopuhelimet,
Arthur Verocai,
Michelle Simonal,
Connie Case,
The Associates,
Adolescents,
Black Flag,
Graham Central Station,
The Index,
Throbbing Gristle,
The Moleskins,
PIL,
Radiohead,
Electric Light Orchestra,
Liaisons Dangereuses,
Idris Muhammad,
Aaron Thompson,
Dual Sessions,
Jerry's Kids,
Teenage Jesus and the Jerks,
The United States of America,
Lou Reed & Metallica,
The Searchers,
Albert Ayler,
Harry Pussy,
Althea and Donna,
Todd Rundgren,
Fort Wilson Riot,
Tomorrow,
The Cramps,
The Beau Brummels,
Shoche,
Pole,
Ten City,
The Men They Couldn't Hang,
Roxette,
Scott Walker,
Laurel Aitken,
Siouxsie and the Banshees,
Yusef Lateef,
Oppenheimer Analysis,
Au Pairs,
The Cosmic Jokers,
John Lydon,
The Buckinghams,
Bad Manners,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.