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 Madagascar and from Mumbai.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and London.
I'm losing my edge to the art-school Jakarta 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 marimba sounds with much patience.
I was there when Holger Czukay 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 MDC to the grime kids.
I played it at the Troubador.
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 Stockholm Monsters. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Ajijia Myrayebe 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Janne Schatter,
The American Breed,
The Fortunes,
Franke,
Amon Düül II,
The West Coast Pop Art Experimental Band,
The Pop Group,
Lyres,
Ohio Players,
Harpers Bizarre,
DeepChord presents Echospace,
Peter Gordon & Love of Life Orchestra,
John Cale,
Cameo,
Talk Talk,
Public Enemy,
The Names,
Pere Ubu,
Ornette Coleman,
Nico,
Tears for Fears,
Ronnie Foster,
Nick Cave & The Bad Seeds,
Harmonia,
The Shadows of Knight,
Neu!,
Max Romeo,
The Dirtbombs,
Minor Threat,
Carl Craig,
Funkadelic,
The Vogues,
Country Teasers,
Negative Approach,
Gastr Del Sol,
OOIOO,
Ludus,
The Grass Roots,
Charles Mingus,
Throbbing Gristle,
Camouflage,
Spoonie Gee,
Bill Wells,
The Associates,
Faust,
Average White Band,
The Modern Lovers,
The Dave Clark Five,
Niagra,
Jacques Brel,
The Neon Judgement,
the Association,
Pantytec,
Gabor Szabo,
Hardrive,
The Electric Prunes,
Lou Reed,
Man Eating Sloth,
Dead Boys,
Easy Going,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.