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 St Lucia and from Stockholm.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Copenhagen and Houston.
I'm losing my edge to the art-school Houston 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 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 The Tremeloes to the jazz kids.
I played it at the 40 Watt.
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 It's A Beautiful Day. All the underground hits.
All The Residents 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 punk 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Section 25 record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
Jeff Lynne,
Lalann,
The Pretty Things,
Juan Atkins,
Intrusion,
the Germs,
John Coltrane,
The Fortunes,
Hoover,
Man Eating Sloth,
Sandy B,
The Move,
Faraquet,
The Golliwogs,
Infiniti,
Lou Reed & Metallica,
Echo & the Bunnymen,
Yazoo,
Rapeman,
Make Up,
Sarah Menescal,
48th St. Collective,
Ultimate Spinach,
Marvin Gaye,
The Flesh Eaters,
ABBA,
Clear Light,
Buzzcocks,
L. Decosne,
Be Bop Deluxe,
Throbbing Gristle,
Oblivians,
The Dave Clark Five,
X-Ray Spex,
Erasure,
The Detroit Cobras,
Gang Gang Dance,
Los Fastidios,
Franke,
Radiohead,
Ajijia Myrayebe,
Barry Ungar,
Maurizio,
Minutemen,
Skriet,
Deakin,
The Raincoats,
Little Man,
KRS-One,
Neil Young,
E-Dancer,
James White and The Blacks,
Procol Harum,
Neil Young & Crazy Horse,
Scratch Acid,
Alice Coltrane,
Desert Stars,
Magma,
Danielle Patucci,
The Monks,
Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity, Roy Ayers Ubiquity.
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.