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 Estonia and from Philadelphia.
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 1974.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Calgary 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 clarinet 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 Radiohead to the electroclash kids.
I played it at the Hacienda.
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 The Detroit Cobras. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Anthony Braxton,
Stereo Dub,
Michelle Simonal,
Sugar Minott,
Barclay James Harvest,
Supertramp,
Bronski Beat,
Erykah Badu,
Byron Stingily,
the Fania All-Stars,
Mr. Review,
Major Organ And The Adding Machine,
Alison Limerick,
The Five Americans,
Spandau Ballet,
The West Coast Pop Art Experimental Band,
Susan Cadogan,
Magazine,
Maurizio,
Glambeats Corp.,
Carl Craig,
The Saints,
Deakin,
Ronnie Foster,
Malaria!,
Ten City,
F. McDonald,
Bauhaus,
Amon Düül,
Sticky Fingaz feat. Raekwon,
the Bar-Kays,
Gregory Isaacs,
The Names,
The Skatalites,
Dave Gahan,
Sam Rivers,
Stockholm Monsters,
Jawbox,
The Dirtbombs,
Davy DMX,
Ice-T,
The Gap Band,
Niagra,
Grandmaster Flash,
Andrew Ashong & Theo Parrish,
Brothers Johnson,
Maleditus Sound,
Deutsch Amerikanische Freundschaft,
A Certain Ratio,
Babytalk,
10cc,
Tom Boy,
Rekid,
Urselle,
Average White Band,
the Germs,
Metal Thangz,
cv313,
Terry Callier,
Bill Wells, Bill Wells, Bill Wells, Bill Wells.
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.