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 Venezuela and from Stockholm.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Tehran.
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 synthesizer 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 Camron Feat. Memphis Bleek And Beenie Seigel to the crunk kids.
I played it at CBGB's.
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 Camberwell Now. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Bob Dylan,
The American Breed,
The Divine Comedy,
Hardrive,
The Wake,
Hoover,
Saccharine Trust,
F. McDonald,
Roxy Music,
Visionaries,LMNO, T- Love & Iriscience,
Barbara Tucker,
Unrelated Segments,
Prince Buster,
Todd Rundgren,
Y Pants,
Alphaville,
The Real Kids,
Amon Düül II,
Avey Tare,
Deutsch Amerikanische Freundschaft,
The Busters,
JFA,
The Young Rascals,
Aloha Tigers,
Suicide,
The Grass Roots,
Cybotron,
Tommy Roe,
Faust,
Quadrant,
Minutemen,
The Names,
Bobby Womack,
David McCallum,
Sister Nancy,
John Lydon,
Joe Finger,
Mad Mike,
Pharoah Sanders,
The Stooges,
Black Pus,
Deadbeat,
Sunsets and Hearts,
Oneida,
Dave Gahan,
Bobby Byrd,
Interpol,
Glambeats Corp.,
Gil Scott-Heron and Jamie xx,
Unwound,
Neil Young,
Magazine,
The Pop Group,
Man Parrish,
Underground Resistance,
Manfred Mann's Earth Band,
the Human League,
One Last Wish,
Nils Olav,
Liliput,
Motorama, Motorama, Motorama, Motorama.
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.