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 Nicaragua and from Mexico City.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Edmonton 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 mellotron sounds with much patience.
I was there when Lou Reed 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 Nirvana to the crunk 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 The Mojo Men. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every Ash Ra Tempel 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 '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese 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?
FM Einheit,
Jacques Brel,
DNA,
The Beau Brummels,
The Real Kids,
Dennis Brown,
Kool Moe Dee,
Barry Ungar,
Dorothy Ashby,
Girls At Our Best!,
The Invisible,
Avey Tare & Kría Brekkan,
The West Coast Pop Art Experimental Band,
Graham Central Station,
The Cowsills,
Minnie Riperton,
Pylon,
Eric Copeland,
Agent Orange,
Peter and Kerry,
Lee Hazlewood,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Bobby Hutcherson,
The Durutti Column,
Kurtis Blow,
Rapeman,
The Count Five,
Echospace,
Subhumans,
Robert Wyatt,
Don Cherry,
Stetsasonic,
the Soft Cell,
Ohio Players,
Rosa Yemen,
The Grass Roots,
Kevin Saunderson,
OOIOO,
The Doobie Brothers,
Howard Jones,
New Order,
Shuggie Otis,
Agitation Free,
The Saints,
The Walker Brothers,
Absolute Body Control,
Au Pairs,
The Doors,
Easy Going,
the Swans,
The Busters,
Notorious Big And Bone Thugs,
Lower 48,
Al Stewart,
Avey Tare's Slasher Flicks,
Rhythm & Sound,
Josef K,
It's A Beautiful Day,
Tommy Roe,
Althea and Donna,
The Monks,
Heaven 17, Heaven 17, Heaven 17, Heaven 17.
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.