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 Poland and from Jakarta.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Tehran and Houston.
I'm losing my edge to the art-school Salvador 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 snare sounds with much patience.
I was there when Donald Fagen 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 Jesper Dahlbäck to the rap kids.
I played it at the Spitz.
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 Aloha Tigers. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Wire record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
The Toasters,
Archie Shepp,
Funkadelic,
Byron Stingily,
Spoonie Gee,
Wighnomy Brothers & Robag Wruhme,
Mars,
Television,
Pharoah Sanders,
Sound Behaviour,
T. Rex,
Aaron Thompson,
Sunsets and Hearts,
the Slits,
June of 44,
Pierre Henry,
June Days,
Malaria!,
Jerry's Kids,
The Gladiators,
Avey Tare's Slasher Flicks,
James Chance & The Contortions,
Slave,
Cecil Taylor,
Black Bananas,
Boz Scaggs,
Youth Brigade,
The Angels of Light,
Cluster,
The Cure,
Gang Starr,
The Doors,
the Fania All-Stars,
The Music Machine,
The Fortunes,
Barrington Levy,
Reagan Youth,
Scott Walker + Sunn O))),
Alison Limerick,
Joey Negro,
Absolute Body Control,
Peter Gordon & Love of Life Orchestra,
Scratch Acid,
48th St. Collective,
Depeche Mode,
Aswad,
MDC,
Cal Tjader,
Gary Puckett & The Union Gap,
Porter Ricks,
The Residents,
New York Dolls,
Saccharine Trust,
Grandmaster Flash,
Silicon Teens,
Joyce Sims,
Richard Hell and the Voidoids,
Deadbeat,
Aural Exciters,
Drive Like Jehu,
Yusef Lateef,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.