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 Malawi and from Bremen.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Cairo and Bremen.
I'm losing my edge to the art-school Jakarta 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 rhodes sounds with much patience.
I was there when David Bowie 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 Deutsch Amerikanische Freundschaft to the crunk kids.
I played it at the Astoria.
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 Black Dice. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Carl Craig 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 '50s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Gories record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
Bill Wells,
Tears for Fears,
Vaughan Mason & Crew,
Barry Ungar,
Liliput,
Television,
Judy Mowatt,
the Sonics,
Visage,
Bob Dylan,
Toni Rubio,
Derrick Morgan,
Grandmaster Flash,
Terry Callier,
Gregory Isaacs,
London Community Gospel Choir,
The Star Department,
The American Breed,
A Flock of Seagulls,
Spoonie Gee,
Sarah Menescal,
Sparks,
Hardrive,
A Certain Ratio,
Niagra,
Boredoms,
Monks,
F. McDonald,
Tres Demented,
The Gories,
Harmonia,
Angels of Light & Akron/Family,
Yusef Lateef,
The Kinks,
Jandek,
Sister Nancy,
Rhythim Is Rhythim,
Liaisons Dangereuses,
DNA,
The Neon Judgement,
The Fire Engines,
Fad Gadget,
Soft Machine,
Bootsy's Rubber Band,
X-Ray Spex,
Alison Limerick,
Little Man,
Strawberry Alarm Clock,
Wighnomy Brothers & Robag Wruhme,
The Evens,
World's Most,
Derrick May,
Barbara Tucker,
Siglo XX,
Zapp,
Franke,
James White and The Blacks,
Bluetip,
Ultravox,
Camouflage, Camouflage, Camouflage, Camouflage.
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.