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 Moldova and from Bologna.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Salvador and Tokyo.
I'm losing my edge to the art-school Columbus 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 808 sounds with much patience.
I was there when David Bowie 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 Fugazi to the funk kids.
I played it at the Astoria.
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 London Community Gospel Choir. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Technova 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
The Smoke,
Ajijia Myrayebe,
The Sound,
Animal Collective,
Delta 5,
Mission of Burma,
KRS-One,
Brand Nubian,
Technova,
The Happenings,
The Residents,
The New Christs,
The Sisters of Mercy,
A Flock of Seagulls,
Nick Fraelich,
Fat Boys,
B.T. Express,
Joe Smooth,
Absolute Body Control,
Malaria!,
Agitation Free,
The Leaves,
X-101,
cv313,
Flipper,
Letta Mbulu,
Captain Beefheart & His Magic Band,
Japan,
Can,
Flamin' Groovies,
Richard Hell and the Voidoids,
The Slits,
Sonic Youth,
The Men They Couldn't Hang,
Colin Newman,
Kings Of Tomorrow,
Cabaret Voltaire,
Aaron Thompson,
The Neon Judgement,
Art Ensemble Of Chicago,
Harmonia,
Urselle,
The Walker Brothers,
Bang on a Can All-Stars,
The American Breed,
Tears for Fears,
The Shadows of Knight,
Roxette,
Terry Callier,
Andrew Ashong & Theo Parrish,
Buzzcocks,
Lower 48,
Babytalk,
Niagra,
Oneida,
Chrome,
CMW,
La Düsseldorf,
Bang On A Can, Bang On A Can, Bang On A Can, Bang On A Can.
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.