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 Serbia and from London.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Tokyo 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 synthesizer 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 Louis and Bebe Barron to the grunge 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 Pierre Henry. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Jerry's Kids 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Last Poets,
Stiv Bators,
Oppenheimer Analysis,
Q65,
Brand Nubian,
The Men They Couldn't Hang,
T.S.O.L.,
Todd Terry,
Mission of Burma,
Japan,
Alton Ellis,
Make Up,
Babytalk,
Flash Fearless,
Kerrie Biddell,
Interpol,
EPMD,
Country Joe & The Fish,
a-ha,
Marc Almond,
Minnie Riperton,
Sound Behaviour,
David Bowie,
Slave,
Don Cherry,
kango's stein massive,
June of 44,
Kango’s Stein Massive,
In Retrospect,
Michelle Simonal,
Marcia Griffiths,
Cabaret Voltaire,
Bill Near,
Whodini,
James Chance & The Contortions,
Rosa Yemen,
Television Personalities,
E-Dancer,
Das Ding,
Silicon Teens,
John Foxx,
Howard Jones,
Average White Band,
Drive Like Jehu,
Super Lover Cee & Casanova Rud,
Infiniti,
Nation of Ulysses,
Black Flag,
The Stooges,
Graham Central Station,
It's A Beautiful Day,
The Knickerbockers,
Jesper Dahlbäck,
The New Christs,
Minny Pops,
Inner City,
Bobbi Humphrey,
Crispy Ambulance,
Jerry's Kids,
Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe, Be Bop Deluxe.
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.