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 Equatorial Guinea and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
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 Tom Verlaine 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 The Mummies to the disco 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 Graham Central Station. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every The Peanut Butter Conspiracy 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
Janne Schatter,
Heaven 17,
Loose Ends,
John Foxx,
Ornette Coleman,
The Blackbyrds,
the Germs,
Main Source,
The Stooges,
The Gories,
Joensuu 1685,
Second Layer,
Malaria!,
Eyeless In Gaza,
Hoover,
Erasure,
Boredoms,
Leonard Cohen,
Mary Jane Girls,
The Doors,
Josef K,
Rakim,
One Last Wish,
Sparks,
cv313,
Tropical Tobacco,
Cal Tjader,
Terror Squad Feat. Camron,
Rowland S Howard / Lydia Lunch,
Popol Vuh,
Eli Mardock,
Mo-Dettes,
Alison Limerick,
De La Soul & Jungle Brothers,
Groovy Waters,
Harry Pussy,
June of 44,
Skarface,
The Fortunes,
Gastr Del Sol,
Tears for Fears,
Subhumans,
June Days,
Marvin Gaye,
Max Romeo,
UT,
The Residents,
Camron Feat. Memphis Bleek And Beenie Seigel,
Agent Orange,
KRS-One,
The Star Department,
The American Breed,
Cabaret Voltaire,
The Walker Brothers,
Suicide,
Peter Gordon & Love of Life Orchestra,
Dennis Brown,
The Mummies,
The Leaves,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.