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 France and from Houston.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Milan 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 linndrum sounds with much patience.
I was there when Nile Rodgers 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 Kango’s Stein Massive to the funk kids.
I played it at the Hacienda.
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 Crash Course in Science. All the underground hits.
All Country Joe & The Fish tracks. I heard you have a vinyl of every Circle Jerks 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Porter Ricks,
ABC,
Alison Limerick,
Amon Düül II,
Vainqueur,
Visage,
Davy DMX,
Richard Hell and the Voidoids,
The Flesh Eaters,
Marshall Jefferson,
Joy Division,
Zero Boys,
Deepchord,
Leonard Cohen,
Iggy Pop,
Ornette Coleman,
Alice Coltrane,
Connie Case,
Albert Ayler,
Audionom,
Nation of Ulysses,
The Slits,
The Real Kids,
The Index,
Talk Talk,
Sound Behaviour,
Minny Pops,
Rowland S Howard / Lydia Lunch,
JFA,
Peter Gordon & Love of Life Orchestra,
Carl Craig,
Sad Lovers and Giants,
Sunsets and Hearts,
Black Sheep,
Judy Mowatt,
X-102,
Brass Construction,
Dr. Dre and Snoop Doggy Dog,
Rakim,
Monolake,
Selector Dub Narcotic,
Gang of Four,
Neil Young & Crazy Horse,
Girls At Our Best!,
Danielle Patucci,
Black Moon,
The Seeds,
The Alarm Clocks,
Dave Gahan,
Buzzcocks,
Bluetip,
Underground Resistance,
MDC,
the Germs,
Traffic Nightmare,
Bobby Byrd,
Glenn Branca,
The Toasters, The Toasters, The Toasters, The Toasters.
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.