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 Portugal and from Edmonton.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Tehran and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 808 sounds with much patience.
I was there when Michael McDonald 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 Can to the rock kids.
I played it at the Crocodile.
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 Tommy Roe. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Shuggie Otis record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Ludus record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
Black Moon,
Notorious BIG live in Amsterdam,
Bobby Byrd,
Bad Manners,
Blake Baxter,
Pantaleimon,
Skarface,
Kas Product,
Kool Moe Dee,
The Fire Engines,
Mark Hollis,
Man Eating Sloth,
Sun Ra Arkestra,
Sight & Sound,
Shuggie Otis,
Silicon Teens,
Liliput,
The Toasters,
Guru Guru,
The Divine Comedy,
The Durutti Column,
Trumans Water,
Boz Scaggs,
Franke,
Delta 5,
Sonny Sharrock,
Siglo XX,
John Foxx,
The Gun Club,
Richard Hell and the Voidoids,
Minnie Riperton,
Eyeless In Gaza,
Terror Squad Feat. Camron,
Morten Harket,
Basic Channel,
Thee Headcoats,
Sound Behaviour,
The Gladiators,
The Standells,
Piero Umiliani,
Dual Sessions,
Inner City,
Rahsaan Roland Kirk,
Ronan,
48th St. Collective,
Howard Jones,
Maleditus Sound,
Jesper Dahlback,
Red Lorry Yellow Lorry,
Infiniti,
Dorothy Ashby,
T. Rex,
Avey Tare & Kría Brekkan,
Essential Logic,
Cecil Taylor,
The Saints,
CMW,
Groovy Waters,
Aural Exciters,
Oneida,
A Certain Ratio,
JFA,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.