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 Kazakhstan and from Beijing.
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 1968 to 1978.
I'm losing my edge.
To all the kids in New York and Stockholm.
I'm losing my edge to the art-school Portland 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 chamberlin 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 Liaisons Dangereuses to the grime kids.
I played it at the Astoria.
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 Anakelly. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every The Monochrome Set record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Visage,
Angry Samoans,
Swans,
Radio Birdman,
The Names,
Camberwell Now,
Sister Nancy,
Index,
Public Enemy,
Be Bop Deluxe,
The Saints,
Quando Quango,
The Selecter,
Interpol,
Idris Muhammad,
The Kinks,
Spoonie Gee,
Rekid,
Kevin Saunderson,
Scratch Acid,
Scott Walker,
The Slits,
The Busters,
DJ Sneak,
Monks,
Skarface,
Cheater Slicks,
Roxy Music,
Lindisfarne,
The Zeros,
K-Klass,
Danielle Patucci,
The Toasters,
Juan Atkins,
The Last Poets,
OOIOO,
Groovy Waters,
Wings,
Technova,
Andrew Hill,
Bronski Beat,
Gil Scott Heron,
Masters at Work,
Dave Gahan,
Ajijia Myrayebe,
Q65,
the Fania All-Stars,
Avey Tare's Slasher Flicks,
Gerry Rafferty,
The Searchers,
Lightning Bolt,
The Raincoats,
The Sound,
Supertramp,
Amon Düül,
Stiv Bators,
The Martian,
Shuggie Otis,
The Slackers,
Fear, Fear, Fear, Fear.
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.