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 Bhutan and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and London.
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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Pulsallama to the funk kids.
I played it at Cafe Wha.
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 MC5. All the underground hits.
All Jeff Lynne tracks. I heard you have a vinyl of every The Red Krayola 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 '80s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalo Schifrin,
The Vogues,
Cameo,
Public Image Ltd.,
Brothers Johnson,
The Tremeloes,
Khruangbin,
Ralphi Rosario,
John Holt,
Audionom,
Tommy Roe,
Skriet,
Charles Mingus,
Minutemen,
Black Sheep,
Juan Atkins,
Radio Birdman,
Magazine,
Man Parrish,
K-Klass,
Second Layer,
Gil Scott Heron,
Technova,
June Days,
Main Source,
The Moleskins,
The Gladiators,
Eurythmics,
Bronski Beat,
The Pop Group,
Radiohead,
Stereo Dub,
Das Ding,
Andrew Hill,
Byron Stingily,
The Skatalites,
Fluxion,
Harpers Bizarre,
The Blackbyrds,
The Barracudas,
Hardrive,
UT,
Sparks,
Shoche,
Lou Reed & Metallica,
Ronan,
Mission of Burma,
Banda Bassotti,
Brass Construction,
The Fortunes,
Peter & Gordon,
Saccharine Trust,
the Swans,
Arthur Verocai,
Cabaret Voltaire,
Patti Smith,
the Soft Cell,
Shuggie Otis,
Carl Craig,
Grandmaster Flash and the Furious Five,
Icehouse,
The Slits,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.