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 East Timor and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1973.
I'm losing my edge.
To all the kids in Madrid and Salvador.
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 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 Tom Verlaine 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 Glambeats Corp. to the jazz kids.
I played it at Cafe Wha.
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 Star Department. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
Sound Behaviour,
The Residents,
Gil Scott Heron,
X-Ray Spex,
Franke,
Swell Maps,
Lebanon Hanover,
Matthew Bourne,
Kevin Saunderson,
Country Teasers,
Fort Wilson Riot,
Fatback Band,
The Evens,
Pharaoh Sanders and the Fire Engines,
Ponytail,
Mad Mike,
Deakin,
Barry Ungar,
Brick,
Sexual Harrassment,
The Gladiators,
Althea and Donna,
The Shadows of Knight,
Massinfluence,
DJ Style,
Sixth Finger,
Big Daddy Kane,
Grandmaster Flash,
Essential Logic,
James Chance & The Contortions,
Easy Going,
Stiv Bators,
London Community Gospel Choir,
Bob Dylan,
Oneida,
Ice-T,
Das Ding,
Notorious BIG live in Amsterdam,
Chris Corsano,
Laurel Aitken,
Barclay James Harvest,
Grauzone,
Al Stewart,
The Cure,
Skaos,
Zero Boys,
Juan Atkins,
Fad Gadget,
Icehouse,
The Star Department,
Piero Umiliani,
Ajijia Myrayebe,
Reagan Youth,
Siglo XX,
Aaron Thompson,
the Association,
Bauhaus,
Matthew Halsall,
Tomorrow,
The Human League,
The Cosmic Jokers,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.