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 Philippines and from Bremen.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Salvador 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 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 The Men They Couldn't Hang to the rock kids.
I played it at the Spitz.
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 Residents. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Oblivians record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Wally Richardson record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Kerrie Biddell,
Tomorrow,
The Pop Group,
Godley & Creme,
Niagra,
Lafayette Afro Rock Band,
D'Angelo,
Procol Harum,
The Music Machine,
Wings,
The Jesus and Mary Chain,
Art Ensemble Of Chicago,
Lou Reed & John Cale,
Grey Daturas,
Fort Wilson Riot,
Neil Young & Crazy Horse,
The Fortunes,
Mr. Review,
Deakin,
The Trojans,
Fluxion,
Section 25,
It's A Beautiful Day,
Eyeless In Gaza,
Marcia Griffiths,
The Last Poets,
Spoonie Gee,
David McCallum,
Sex Pistols,
The Techniques,
Gichy Dan,
The Gories,
Bronski Beat,
Roy Ayers,
Camron Feat. Jay Z And Juelz,
Camron Feat. Memphis Bleek And Beenie Seigel,
Skriet,
Cluster,
Chrome,
The Blues Magoos,
Malaria!,
The Toasters,
Lungfish,
The Skatalites,
Mars,
Rotary Connection,
Supertramp,
Barry Ungar,
X-Ray Spex,
Black Pus,
Audionom,
Dual Sessions,
Reuben Wilson,
Infiniti,
New Age Steppers,
Bootsy's Rubber Band,
The Move,
Mantronix,
Andrew Hill,
H. Thieme,
Fad Gadget,
Q and Not U,
Kenny Larkin, Kenny Larkin, Kenny Larkin, Kenny Larkin.
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.