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 Montenegro 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 1962 to 1977.
I'm losing my edge.
To all the kids in Halifax and Lagos.
I'm losing my edge to the art-school Lyon 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Oneida to the funk kids.
I played it at Trash.
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 It's A Beautiful Day. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a F. McDonald record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
DJ Sneak,
Dawn Penn,
Oneida,
Anakelly,
John Coltrane,
Joe Smooth,
Camouflage,
Man Eating Sloth,
Little Man,
The Cowsills,
Kevin Saunderson,
Howard Jones,
Rhythim Is Rhythim,
Teenage Jesus and the Jerks,
Pulsallama,
Erykah Badu,
Aaron Thompson,
Tom Boy,
Skaos,
Hardrive,
The Motions,
Gerry Rafferty,
Delon & Dalcan,
Adolescents,
Duran Duran,
Liaisons Dangereuses,
Wasted Youth,
Ludus,
Bob Dylan,
Mars,
New Order,
Procol Harum,
The Move,
Rakim,
X-102,
The Seeds,
Spandau Ballet,
Television Personalities,
kango's stein massive,
Maleditus Sound,
Sonny Sharrock,
KRS-One,
The Red Krayola,
Nas,
Fifty Foot Hose,
Curtis Mayfield,
Art Ensemble Of Chicago,
The Searchers,
Manfred Mann's Earth Band,
Yellowson,
Sparks,
The Mojo Men,
Magazine,
The Pop Group,
Motorama,
Deakin,
Josef K,
Rufus Thomas,
Albert Ayler,
Nico,
In Retrospect,
Jawbox, Jawbox, Jawbox, Jawbox.
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.