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 Pakistan and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Lyon and Mumbai.
I'm losing my edge to the art-school Bologna 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 Tom Verlaine 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 Boredoms to the rock kids.
I played it at the Troubador.
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 Brick. All the underground hits.
All Aural Exciters tracks. I heard you have a vinyl of every Liaisons Dangereuses record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum 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?
Theoretical Girls,
Lou Christie,
Eden Ahbez,
Steve Hackett,
Donny Hathaway,
Roger Hodgson,
Maurizio,
Terrestrial Tones,
Mary Jane Girls,
Goldenarms,
Orchestral Manoeuvres in the Dark,
Curtis Mayfield,
Deutsch Amerikanische Freundschaft,
Sixth Finger,
Idris Muhammad,
The Searchers,
Absolute Body Control,
Lightning Bolt,
Throbbing Gristle,
Big Daddy Kane,
The Mojo Men,
Bob Dylan,
Angry Samoans,
Can,
Yaz,
Newcleus,
Chris Corsano,
T.S.O.L.,
Scratch Acid,
James Chance & The Contortions,
Todd Terry,
Dawn Penn,
Sarah Menescal,
Flipper,
Marcia Griffiths,
Angels of Light & Akron/Family,
Glenn Branca,
The Modern Lovers,
The Sound,
The American Breed,
Selector Dub Narcotic,
Rhythim Is Rhythim,
Ossler,
Quantec,
48th St. Collective,
Cymande,
the Soft Cell,
The Happenings,
The Motions,
Minor Threat,
Oppenheimer Analysis,
De La Soul & Jungle Brothers,
Los Fastidios,
Lalo Schifrin,
Black Flag,
The Names,
Neu!,
Unwound,
Lakeside,
The Divine Comedy,
The United States of America,
The Electric Prunes,
Masters at Work,
Cybotron,
The Doors, The Doors, The Doors, The Doors.
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.