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 Cambodia and from Lagos.
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 Lyon and Copenhagen.
I'm losing my edge to the art-school Delhi 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 linndrum 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 Faraquet to the disco 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 DeepChord presents Echospace. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every The Happenings 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 '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Can record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Mantronix,
Robert Wyatt,
The Velvet Underground,
Shoche,
Q and Not U,
Kaleidoscope,
Gang Green,
Stockholm Monsters,
EPMD,
MC5,
Pierre Henry,
Mary Jane Girls,
The Gories,
Ituana,
Sunsets and Hearts,
New York Dolls,
Freddie Wadling,
The Searchers,
Darondo,
Thee Headcoats,
Con Funk Shun,
Essential Logic,
The Black Dice,
Tom Boy,
The Walker Brothers,
Bobby Womack,
Sandy B,
The Sisters of Mercy,
Ultimate Spinach,
Faust,
Rhythm & Sound,
Spandau Ballet,
Scientists,
Fatback Band,
Gil Scott-Heron & Brian Jackson,
Idris Muhammad,
Joey Negro,
Guru Guru,
Boz Scaggs,
Nik Kershaw,
Metal Thangz,
The Electric Prunes,
Dead Boys,
Be Bop Deluxe,
Scan 7,
Sarah Menescal,
Joe Smooth,
Prince Buster,
Lebanon Hanover,
The Standells,
Faraquet,
the Germs,
Donny Hathaway,
Derrick May,
Kenny Larkin,
Pylon,
Ornette Coleman,
The Birthday Party,
Outsiders,
Sound Behaviour,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.