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 Ireland and from Tokyo.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Milan and Manila.
I'm losing my edge to the art-school Madrid 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 harpsichord 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 Sun City Girls to the dance kids.
I played it at the Troubador.
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 Jesper Dahlbäck. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Masters at Work 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 '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Easy Going,
Lonnie Liston Smith,
the Normal,
Byron Stingily,
Rakim,
Ornette Coleman,
Rod Modell,
Louis and Bebe Barron,
Jandek,
Oppenheimer Analysis,
Sonny Sharrock,
Gian Franco Pienzio,
Oneida,
Skarface,
Loose Ends,
Spoonie Gee,
E-Dancer,
In Retrospect,
The Sonics,
Cabaret Voltaire,
The Cosmic Jokers,
OOIOO,
Accadde A,
X-101,
Pharaoh Sanders and the Fire Engines,
the Swans,
Liliput,
Chris & Cosey,
Bobby Sherman,
Visage,
Rotary Connection,
Lou Reed,
Pantytec,
Warren Ellis,
Yellowson,
Sun Ra,
Interpol,
Bobbi Humphrey,
Half Japanese,
Saccharine Trust,
Avey Tare,
Lakeside,
Cybotron,
Joey Negro,
Lou Christie,
Rhythim Is Rhythim,
Flipper,
La Düsseldorf,
Motorama,
Gang Starr,
48th St. Collective,
Scan 7,
The Mojo Men,
K-Klass,
The Pop Group,
Derrick May,
Lee Hazlewood,
Terror Squad Feat. Camron,
Traffic Nightmare,
The Pretty Things,
Index,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.