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 Somalia and from Edmonton.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Toronto 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 snare sounds with much patience.
I was there when Lou Reed 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 Strawberry Alarm Clock to the rap kids.
I played it at the Crocodile.
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 The Real Kids. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal rap 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 güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Sugar Minott,
Rufus Thomas,
Tropical Tobacco,
T. Rex,
Gil Scott-Heron and Jamie xx,
the Sonics,
The Offenders,
Ultra Naté,
Judy Mowatt,
The Litter,
Alison Limerick,
Ossler,
Grey Daturas,
Frankie Knuckles,
Nation of Ulysses,
Super Lover Cee & Casanova Rud,
Shoche,
The Modern Lovers,
Lower 48,
Bill Wells,
Gregory Isaacs,
Piero Umiliani,
the Slits,
Oppenheimer Analysis,
The Golliwogs,
The Royal Family And The Poor,
Rod Modell,
The American Breed,
Rhythm & Sound,
Darondo,
Barrington Levy,
Tomorrow,
Sexual Harrassment,
the Swans,
The Walker Brothers,
Ludus,
Scion,
Nick Fraelich,
Deakin,
Guru Guru,
One Last Wish,
Moebius,
CMW,
Funkadelic,
The Neon Judgement,
Q65,
Lalo Schifrin,
Jacques Brel,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ultravox,
Clear Light,
Eden Ahbez,
The J.B.'s,
Pete Rock & C.L. Smooth,
Major Organ And The Adding Machine,
Roxette,
The Detroit Cobras,
Television Personalities,
Marc Almond,
Don Cherry,
Mark Hollis,
Scott Walker, Scott Walker, Scott Walker, Scott Walker.
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.