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 Egypt and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Manchester and Paris.
I'm losing my edge to the art-school Lagos 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 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 Matthew Bourne to the electroclash kids.
I played it at the Spitz.
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 Notorious BIG live in Amsterdam. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Accadde A record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Lungfish,
Altered Images,
Fugazi,
Ohio Players,
Harmonia,
The Tremeloes,
Tres Demented,
Althea and Donna,
Kool G Rap & DJ Polo,
Camron Feat. Jay Z And Juelz,
Brand Nubian,
Roy Ayers,
Jerry Gold Smith,
Flash Fearless,
Bob Dylan,
Siouxsie and the Banshees,
Severed Heads,
Terrestrial Tones,
The Litter,
Erasure,
Avey Tare & Kría Brekkan,
ABBA,
Thee Headcoats,
Bobbi Humphrey,
Quadrant,
Sällskapet,
It's A Beautiful Day,
Frankie Knuckles,
Main Source,
OOIOO,
Kauko Röyhkä ja Narttu,
Roxette,
The Divine Comedy,
Desert Stars,
Gang of Four,
Gong,
Underground Resistance,
Angels of Light & Akron/Family,
Jacob Miller,
The Flesh Eaters,
Howard Jones,
Fifty Foot Hose,
World's Most,
Scratch Acid,
Fluxion,
Dr. Dre and Snoop Doggy Dog,
Bush Tetras,
The Monks,
Soulsonic Force,
Neu!,
PIL,
London Community Gospel Choir,
Louis and Bebe Barron,
The Misunderstood,
The Monochrome Set,
The Gladiators,
Young Marble Giants,
Dual Sessions,
R.M.O.,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.