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 Samoa and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Paris and Johannesburg.
I'm losing my edge to the art-school Johannesburg 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 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 Scan 7 to the grunge kids.
I played it at the 40 Watt.
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 Black Bananas. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Magazine 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?
Banda Bassotti,
Motorama,
PIL,
Groovy Waters,
Sexual Harrassment,
Reagan Youth,
The Associates,
Man Eating Sloth,
Kool G Rap & DJ Polo,
The Neon Judgement,
Andrew Ashong & Theo Parrish,
Electric Prunes,
Laurel Aitken,
The Count Five,
Louis and Bebe Barron,
The Dirtbombs,
New Age Steppers,
Heaven 17,
Organ,
Visionaries,LMNO, T- Love & Iriscience,
Public Enemy,
Underground Resistance,
Colin Newman,
Warsaw,
James Chance & The Contortions,
Marcia Griffiths,
Urselle,
Lou Reed,
Skaos,
Magazine,
The Pop Group,
Half Japanese,
D'Angelo,
The Doors,
Jesper Dahlback,
Jerry Gold Smith,
Aural Exciters,
The Selecter,
The Smoke,
R.M.O.,
Lafayette Afro Rock Band,
Chris Corsano,
Nick Fraelich,
Jerry's Kids,
The Young Rascals,
Make Up,
The Angels of Light,
Delon & Dalcan,
The Fall,
Cluster,
Pantaleimon,
Minor Threat,
Gil Scott-Heron & Brian Jackson,
Crispian St. Peters,
Neu!,
Babytalk,
Mad Mike,
Ohio Players,
the Association,
Bauhaus,
The West Coast Pop Art Experimental Band,
The Fugs,
The Victims, The Victims, The Victims, The Victims.
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.