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 Egypt and from Salvador.
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 Bologna and Bologna.
I'm losing my edge to the art-school Tehran 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 Donald Fagen 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 Warren Ellis to the disco 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 Country Joe & The Fish. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Sound Behaviour,
Organ,
The Barracudas,
Amon Düül,
Absolute Body Control,
Swans,
Mars,
The Angels of Light,
The Martian,
John Coltrane,
A Certain Ratio,
Fluxion,
The Mummies,
Rekid,
The Electric Prunes,
The Kinks,
The Evens,
Ohio Players,
Morten Harket,
Television,
The Cramps,
Erasure,
Sparks,
Nico,
Magazine,
ABC,
James White and The Blacks,
Fela Kuti,
Al Stewart,
Letta Mbulu,
Pet Shop Boys,
Gregory Isaacs,
Maleditus Sound,
Sad Lovers and Giants,
Au Pairs,
Magma,
Major Organ And The Adding Machine,
Das Ding,
Boz Scaggs,
June Days,
Ossler,
Roy Ayers,
James Chance & The Contortions,
The Grass Roots,
The Selecter,
Moby Grape,
The Cowsills,
Neu!,
Nick Fraelich,
Deadbeat,
The Moleskins,
Tim Buckley,
Sugar Minott,
Technova,
The Gladiators,
Anakelly,
Kayak,
the Association, the Association, the Association, the Association.
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.