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 Paraguay and from Winnipeg.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
I'm losing my edge to the art-school Stockholm 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 oboe sounds with much patience.
I was there when David Bowie 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 Make Up to the electroclash 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 Arab on Radar. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Morten Harket,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Victims,
Simply Red,
Neu!,
the Human League,
Boogie Down Productions,
Marshall Jefferson,
Rites of Spring,
June Days,
The Modern Lovers,
Yazoo,
H. Thieme,
Tubeway Army,
kango's stein massive,
T. Rex,
James Chance & The Contortions,
Main Source,
Audionom,
Juan Atkins,
Nirvana,
The Wake,
Wings,
Clear Light,
Con Funk Shun,
Sarah Menescal,
Laurel Aitken,
Minor Threat,
Sun Ra,
Bootsy's Rubber Band,
Sparks,
Nick Cave & The Bad Seeds,
Brick,
Henry Cow,
Joensuu 1685,
Pulsallama,
The West Coast Pop Art Experimental Band,
Whodini,
Tomorrow,
Moss Icon,
Gang Starr,
Frankie Knuckles,
Black Bananas,
Dave Gahan,
Eurythmics,
Monolake,
Cybotron,
Tres Demented,
the Fania All-Stars,
Drexciya,
The Count Five,
Al Stewart,
Rahsaan Roland Kirk,
The Raincoats,
Kas Product,
Jerry's Kids,
Leonard Cohen,
the Sonics,
Absolute Body Control,
Black Moon,
Japan,
Moebius, Moebius, Moebius, Moebius.
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.