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 United States and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Portland and Copenhagen.
I'm losing my edge to the art-school Lyon 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 theremin 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 Skarface to the electroclash 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 The Divine Comedy. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Adolescents record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-102,
Television,
Babytalk,
Schoolly D,
Ohio Players,
Electric Light Orchestra,
kango's stein massive,
Tommy Roe,
Kings Of Tomorrow,
Half Japanese,
Laurel Aitken,
Tom Boy,
Thinking Fellers Union Local 282,
The Neon Judgement,
Patti Smith,
Pete Rock & C.L. Smooth,
Selector Dub Narcotic,
UT,
Sparks,
Brand Nubian,
Throbbing Gristle,
Kenny Larkin,
Cal Tjader,
Faraquet,
New York Dolls,
The United States of America,
Matthew Bourne,
Leonard Cohen,
Con Funk Shun,
Jerry Gold Smith,
Liliput,
World's Most,
This Heat,
Wally Richardson,
Alphaville,
The New Christs,
A Certain Ratio,
Symarip,
Neil Young & Crazy Horse,
Deutsch Amerikanische Freundschaft,
EPMD,
Big Daddy Kane,
Unwound,
Kerri Chandler,
Sonic Youth,
Boogie Down Productions,
Peter and Kerry,
Sight & Sound,
Essential Logic,
The Birthday Party,
Oneida,
Albert Ayler,
Ultravox,
Talk Talk,
Harmonia,
Ice-T,
Procol Harum,
Stereo Dub,
Slick Rick,
Trumans Water,
Little Man,
Lebanon Hanover,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.