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 Kosovo and from Cairo.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Lagos and Sao Paulo.
I'm losing my edge to the art-school Copenhagen 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 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 Ralphi Rosario to the electroclash kids.
I played it at the Roxy.
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 American Breed. All the underground hits.
All Sandy B tracks. I heard you have a vinyl of every The Electric Prunes 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 '90s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gary Puckett & The Union Gap record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Minor Threat,
Joey Negro,
Drive Like Jehu,
Bang On A Can,
The Moleskins,
Newcleus,
Soft Cell,
Gregory Isaacs,
The Mummies,
Peter Gordon & Love of Life Orchestra,
Kenny Larkin,
The Doors,
The Human League,
A Flock of Seagulls,
Hoover,
Ultramagnetic MC's,
Danielle Patucci,
Massinfluence,
Blake Baxter,
Second Layer,
Terry Callier,
Q65,
Half Japanese,
New York Dolls,
The Real Kids,
Monolake,
Spandau Ballet,
the Bar-Kays,
Pierre Henry,
The Kinks,
JFA,
The Cosmic Jokers,
The Fire Engines,
Electric Light Orchestra,
Von Mondo,
The Dirtbombs,
Kings Of Tomorrow,
Kaleidoscope,
John Foxx,
Sly & The Family Stone,
The Wake,
The Dave Clark Five,
Severed Heads,
Unwound,
The J.B.'s,
Black Pus,
Tomorrow,
Monks,
Ronnie Foster,
Lalann,
Tommy Roe,
Interpol,
Laurel Aitken,
London Community Gospel Choir,
Eric B and Rakim,
Rahsaan Roland Kirk,
Ohio Players,
Bobby Byrd,
Neu!,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.