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 Algeria and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1974.
I'm losing my edge.
To all the kids in Lagos and Salvador.
I'm losing my edge to the art-school Mexico City 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 mellotron 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 The Beau Brummels to the dance kids.
I played it at the Astoria.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Dave Gahan tracks. I heard you have a vinyl of every Absolute Body Control record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eve St. Jones,
The Names,
Sight & Sound,
Fear,
Morten Harket,
Au Pairs,
Eurythmics,
Hasil Adkins,
The Alarm Clocks,
New Order,
The Associates,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
X-101,
Slave,
The Dirtbombs,
Ten City,
Joensuu 1685,
Albert Ayler,
The Gladiators,
The Smiths,
A Certain Ratio,
Black Pus,
The Golliwogs,
Ponytail,
Alison Limerick,
Idris Muhammad,
Susan Cadogan,
Barclay James Harvest,
Outsiders,
The Toasters,
Super Lover Cee & Casanova Rud,
Kas Product,
Rod Modell,
Johnny Clarke,
Funkadelic,
Crispian St. Peters,
Thinking Fellers Union Local 282,
Lee Hazlewood,
Kurtis Blow,
Lou Christie,
Byron Stingily,
Frankie Knuckles,
Deakin,
Oneida,
Japan,
Don Cherry,
Los Fastidios,
Mr. Review,
Model 500,
ABC,
The Doors,
Lindisfarne,
Nik Kershaw,
The Cosmic Jokers,
Bush Tetras,
Chrome,
Stockholm Monsters,
Laurel Aitken,
Charles Mingus,
Rowland S Howard / Lydia Lunch,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.