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 Cuba and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Bill Wells to the rock 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 Robert Görl. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Strawberry Alarm Clock 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Guru Guru,
Stetsasonic,
Pierre Henry,
Notorious BIG live in Amsterdam,
Wire,
Lonnie Liston Smith,
The Chocolate Watch Band,
Eric Dolphy,
The Doors,
Sound Behaviour,
Minor Threat,
The Blues Magoos,
Slave,
Crooked Eye,
ABBA,
Toni Rubio,
Black Pus,
The Martian,
Super Lover Cee & Casanova Rud,
Amazonics,
Teenage Jesus and the Jerks,
The Barracudas,
Q and Not U,
Kool G Rap & DJ Polo,
Interpol,
Ultra Naté,
the Slits,
Crime,
MC5,
Lalann,
Masters at Work,
Thee Headcoats,
Bob Dylan,
Banda Bassotti,
The Litter,
Duran Duran,
Sister Nancy,
Magazine,
The Monks,
Stockholm Monsters,
Lindisfarne,
Archie Shepp,
Nick Cave & The Bad Seeds,
The Misunderstood,
It's A Beautiful Day,
Intrusion,
Television Personalities,
Bang on a Can All-Stars,
Second Layer,
The West Coast Pop Art Experimental Band,
L. Decosne,
Lou Reed & Metallica,
Harpers Bizarre,
Boz Scaggs,
Selector Dub Narcotic,
kango's stein massive,
Pole,
Jacob Miller,
Stereo Dub,
Blossom Toes,
Rotary Connection,
The Music Machine,
Country Teasers,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.