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 Guinea-Bissau and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Tehran and New York.
I'm losing my edge to the art-school Shanghai 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 synthesizer 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 Pharoah Sanders to the dance 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 Frankie Knuckles. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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 Leaves,
Rod Modell,
Audionom,
Arab on Radar,
Jesper Dahlbäck,
The Birthday Party,
Sound Behaviour,
Youth Brigade,
The Divine Comedy,
Piero Umiliani,
Eddi Front,
A Flock of Seagulls,
Eve St. Jones,
Sonic Youth,
Eyeless In Gaza,
Todd Rundgren,
Yellowson,
Kaleidoscope,
The Golliwogs,
Model 500,
Infiniti,
Swans,
Kas Product,
Guru Guru,
Nico,
Bobby Hutcherson,
Yusef Lateef,
The Five Americans,
Section 25,
James White and The Blacks,
Notorious Big And Bone Thugs,
Motorama,
Laurel Aitken,
Red Lorry Yellow Lorry,
David McCallum,
Bronski Beat,
Depeche Mode,
Tubeway Army,
The Techniques,
Ajijia Myrayebe,
Bizarre Inc.,
Soulsonic Force,
F. McDonald,
Blossom Toes,
Amon Düül,
Aaron Thompson,
Rakim,
Archie Shepp,
Oblivians,
The Men They Couldn't Hang,
K-Klass,
New York Dolls,
Nik Kershaw,
The Stooges,
Pantytec,
Tears for Fears,
The Dead C,
Deutsch Amerikanische Freundschaft,
Sparks,
The Mighty Diamonds,
Y Pants,
Deadbeat,
Oneida,
Pylon, Pylon, Pylon, Pylon.
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.