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 Palau and from Taipei.
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 1976.
I'm losing my edge.
To all the kids in Salvador and Taipei.
I'm losing my edge to the art-school Manchester 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Motorama to the punk 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 Music Machine. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Leonard Cohen 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 an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
The Motions,
Dead Boys,
Scott Walker,
Marc Almond,
Q65,
Interpol,
The Skatalites,
The United States of America,
The Wake,
Kas Product,
Liaisons Dangereuses,
Justin Hinds & The Dominoes,
Larry & the Blue Notes,
Sam Rivers,
The Seeds,
Lower 48,
De La Soul & Jungle Brothers,
Hoover,
Urselle,
Notorious BIG live in Amsterdam,
Theoretical Girls,
Quantec,
Nick Fraelich,
Dave Gahan,
Lyres,
Arab on Radar,
Delon & Dalcan,
Cameo,
Trumans Water,
LL Cool J,
Judy Mowatt,
The Walker Brothers,
Roxette,
Sight & Sound,
The New Christs,
Visage,
Kool Moe Dee,
Jawbox,
Flamin' Groovies,
ABC,
Nik Kershaw,
R.M.O.,
Jerry's Kids,
Lalann,
Lou Reed & Metallica,
Heavy D & The Boyz,
Alison Limerick,
DeepChord presents Echospace,
the Association,
Alice Coltrane,
Black Pus,
Q and Not U,
Manfred Mann's Earth Band,
a-ha,
The Royal Family And The Poor,
Gerry Rafferty,
Metal Thangz,
Barry Ungar,
The J.B.'s,
Boogie Down Productions,
Deakin,
Eurythmics,
Stetsasonic,
MC5,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.