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 Azerbaijan and from Woodstock.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Mumbai 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 rhodes 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 Masters at Work to the grunge kids.
I played it at the Troubador.
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 Pussy Galore. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Erasure 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 '60s cut and another box set from the '90s.
I hear you're buying a marimba and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Accadde A,
Jesper Dahlback,
Todd Rundgren,
Jacques Brel,
The Durutti Column,
The Fall,
Aural Exciters,
The Velvet Underground,
Nirvana,
a-ha,
Funky Four + One,
The Toasters,
Kevin Saunderson,
The Count Five,
Pole,
Harpers Bizarre,
Strawberry Alarm Clock,
Thee Headcoats,
Los Fastidios,
Cheater Slicks,
Harry Pussy,
Black Sheep,
The Barracudas,
Deakin,
Jerry Gold Smith,
Lungfish,
Sun Ra Arkestra,
The Beau Brummels,
Scott Walker,
Gabor Szabo,
Faraquet,
Archie Shepp,
Fort Wilson Riot,
Scientists,
MDC,
Gang Green,
Don Cherry,
Slave,
The Chocolate Watch Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Josef K,
Qualms,
Matthew Halsall,
Interpol,
Tres Demented,
The Doors,
Drexciya,
The Doobie Brothers,
Liliput,
Scratch Acid,
Sun City Girls,
Eyeless In Gaza,
Kayak,
Louis and Bebe Barron,
Joe Finger,
Henry Cow,
The Litter,
Sound Behaviour,
Yaz,
Half Japanese,
The Index,
The West Coast Pop Art Experimental Band,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.