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 Tuvalu and from Cairo.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1970.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
I'm losing my edge to the art-school Tehran 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 Oblivians to the rock 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 Thompson Twins. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Yaz record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
The West Coast Pop Art Experimental Band,
Barry Ungar,
Drive Like Jehu,
World's Most,
The Mummies,
Siouxsie and the Banshees,
the Bar-Kays,
June Days,
The Star Department,
Clear Light,
the Slits,
Lonnie Liston Smith,
Chris Corsano,
Gang Green,
Blossom Toes,
Eli Mardock,
Kool G Rap & DJ Polo,
Little Man,
In Retrospect,
Altered Images,
Mr. Review,
Mark Hollis,
Janne Schatter,
Minutemen,
Urselle,
The Invisible,
Suicide,
MDC,
Gong,
Mandrill,
Alphaville,
The Saints,
Underground Resistance,
Boredoms,
Model 500,
Wings,
The Smoke,
Rufus Thomas,
Kayak,
Half Japanese,
Quantec,
Visionaries,LMNO, T- Love & Iriscience,
Youth Brigade,
Dave Gahan,
Mantronix,
Neu!,
The Techniques,
Shuggie Otis,
The Skatalites,
8 Eyed Spy,
Ludus,
Don Cherry,
Monks,
The Trojans,
Mars,
Andrew Ashong & Theo Parrish,
Electric Prunes,
the Human League,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.