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 Philippines and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Taipei and Tokyo.
I'm losing my edge to the art-school London 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 The Doors to the dance 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 The Vogues. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every The Last Poets record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Thompson Twins,
Kerrie Biddell,
Wire,
The Walker Brothers,
Crash Course in Science,
Amon Düül,
The Doobie Brothers,
Symarip,
Echo & the Bunnymen,
Mary Jane Girls,
James Chance & The Contortions,
Grauzone,
June of 44,
Bobby Hutcherson,
Fugazi,
Ronan,
The Fortunes,
Glambeats Corp.,
Andrew Hill,
The Selecter,
Bobby Sherman,
The Mighty Diamonds,
Joe Smooth,
New York Dolls,
Panda Bear,
Sad Lovers and Giants,
The Happenings,
Silicon Teens,
Dual Sessions,
Rapeman,
Loose Ends,
Inner City,
Motorama,
X-102,
Pulsallama,
kango's stein massive,
Minnie Riperton,
Gang Green,
Danielle Patucci,
Steve Hackett,
These Immortal Souls,
The Chocolate Watch Band,
Ultra Naté,
Radiopuhelimet,
Juan Atkins,
Faust,
Roy Ayers,
Aswad,
L. Decosne,
The Motions,
The Angels of Light,
Rites of Spring,
Q and Not U,
Ponytail,
The Cosmic Jokers,
Lafayette Afro Rock Band,
Be Bop Deluxe,
Deutsch Amerikanische Freundschaft,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.