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 Nigeria and from Shanghai.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1972.
I'm losing my edge.
To all the kids in Woodstock and Mumbai.
I'm losing my edge to the art-school Mumbai 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 clarinet 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 La Düsseldorf to the electroclash kids.
I played it at the Roxy.
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 John Coltrane. All the underground hits.
All The Barracudas tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal rock 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 spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Monks,
Nils Olav,
Rowland S Howard / Lydia Lunch,
Animal Collective,
The Sonics,
Man Eating Sloth,
The Human League,
Black Pus,
D'Angelo,
Black Moon,
Sunsets and Hearts,
The Gap Band,
Lalo Schifrin,
Khruangbin,
Lonnie Liston Smith,
Bob Dylan,
X-102,
The Residents,
Susan Cadogan,
Rufus Thomas,
John Cale,
Technova,
the Slits,
Main Source,
Richard Hell and the Voidoids,
The Trojans,
Yaz,
Newcleus,
Model 500,
Curtis Mayfield,
Minutemen,
Althea and Donna,
The Vogues,
kango's stein massive,
Louis and Bebe Barron,
Sonny Sharrock,
Procol Harum,
Pantaleimon,
Boz Scaggs,
F. McDonald,
Jesper Dahlbäck,
The Standells,
The Seeds,
Stockholm Monsters,
Charles Mingus,
Roxy Music,
The Smoke,
Henry Cow,
Larry & the Blue Notes,
Symarip,
Alice Coltrane,
T. Rex,
Sex Pistols,
Intrusion,
Scion,
The Saints,
James Chance & The Contortions,
Sixth Finger,
Motorama,
Neil Young & Crazy Horse,
Bauhaus,
Boredoms,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.