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 Ivory Coast and from Manila.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Johannesburg.
I'm losing my edge to the art-school Woodstock 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the marimba 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 The Mummies to the rock kids.
I played it at the Crocodile.
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 Gap Band. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Kerri Chandler 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Pole,
Tim Buckley,
The Smiths,
Grauzone,
Alison Limerick,
10cc,
Harmonia,
Soft Machine,
the Soft Cell,
Pharoah Sanders,
Deepchord,
Trumans Water,
Smog,
Marvin Gaye,
T. Rex,
Deadbeat,
The Barracudas,
These Immortal Souls,
New York Dolls,
Camron Feat. Memphis Bleek And Beenie Seigel,
Eddi Front,
Lou Christie,
Frankie Knuckles,
Liaisons Dangereuses,
Brass Construction,
Rekid,
Girls At Our Best!,
Faraquet,
Cecil Taylor,
Deakin,
Fluxion,
The Cowsills,
Parry Music,
Q and Not U,
Animal Collective,
Zero Boys,
Supertramp,
DNA,
Joe Finger,
Scott Walker + Sunn O))),
The Cramps,
Mandrill,
Joey Negro,
K-Klass,
Livin' Joy,
Siglo XX,
Terror Squad Feat. Camron,
Royal Trux,
Harpers Bizarre,
The Techniques,
Newcleus,
Japan,
Mary Jane Girls,
Los Fastidios,
Popol Vuh,
Bobby Hutcherson,
Kerri Chandler,
Amon Düül,
Gichy Dan,
Massinfluence,
Eric Copeland,
Archie Shepp,
E-Dancer,
Visage, Visage, Visage, Visage.
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.