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 Sweden and from Copenhagen.
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 1973.
I'm losing my edge.
To all the kids in Stockholm and Lyon.
I'm losing my edge to the art-school Seoul 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 Selda practice in a loft in Istanbul.
I was working on the sitar 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 K-Klass to the rock kids.
I played it at the Troubador.
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 Smog. All the underground hits.
All Nas tracks. I heard you have a vinyl of every the Human League 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 '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
The Grass Roots,
Echo & the Bunnymen,
Fat Boys,
Crispy Ambulance,
The Neon Judgement,
Wighnomy Brothers & Robag Wruhme,
The Shadows of Knight,
The Skatalites,
The Sisters of Mercy,
Gabor Szabo,
The Angels of Light,
the Soft Cell,
Frankie Knuckles,
the Association,
Underground Resistance,
Nico,
Altered Images,
Oppenheimer Analysis,
Gong,
KRS-One,
Ajijia Myrayebe,
Porter Ricks,
Soft Machine,
Pantytec,
Eve St. Jones,
Jerry's Kids,
Gregory Isaacs,
E-Dancer,
the Normal,
The Golliwogs,
Wings,
Mantronix,
8 Eyed Spy,
The Cramps,
The Evens,
The Detroit Cobras,
The Motions,
Kerri Chandler,
Roxette,
Kas Product,
Tomorrow,
Duran Duran,
Agitation Free,
Visionaries,LMNO, T- Love & Iriscience,
De La Soul & Jungle Brothers,
Ash Ra Tempel,
Young Marble Giants,
Rekid,
Supertramp,
Anakelly,
Hasil Adkins,
Au Pairs,
Malaria!,
Excepter,
The Jesus and Mary Chain,
Selector Dub Narcotic,
Scratch Acid,
the Bar-Kays,
Lalo Schifrin,
New Order,
Sugar Minott,
The Beau Brummels, The Beau Brummels, The Beau Brummels, The Beau Brummels.
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.