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 Bhutan and from Mumbai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Madrid.
I'm losing my edge to the art-school New York 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Bootsy Collins to the funk kids.
I played it at Cafe Wha.
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 The Offenders tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Excepter,
Graham Central Station,
Fear,
Glenn Branca,
Be Bop Deluxe,
Dead Boys,
Josef K,
Spoonie Gee,
Sparks,
the Sonics,
Aloha Tigers,
PIL,
Sixth Finger,
Alphaville,
Kauko Röyhkä ja Narttu,
DJ Style,
Eli Mardock,
Byron Stingily,
Brand Nubian,
Index,
The Detroit Cobras,
Nation of Ulysses,
FM Einheit,
Idris Muhammad,
Kango’s Stein Massive,
Al Stewart,
The Count Five,
Bizarre Inc.,
Sun Ra,
Wasted Youth,
Franke,
Dorothy Ashby,
Lonnie Liston Smith,
The Litter,
Hoover,
Tubeway Army,
Section 25,
Television Personalities,
Leonard Cohen,
10cc,
Thee Headcoats,
Ossler,
LL Cool J,
Arcadia,
Scott Walker,
Gabor Szabo,
Outsiders,
Girls At Our Best!,
Siglo XX,
Lou Reed & John Cale,
Ajijia Myrayebe,
Inner City,
Talk Talk,
Kaleidoscope,
Vladislav Delay,
Das Ding,
Half Japanese,
Mr. Review,
The Gladiators,
Roy Ayers,
Wighnomy Brothers & Robag Wruhme,
EPMD, EPMD, EPMD, EPMD.
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.