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 Manchester.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Salvador.
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 guitar 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 Stetsasonic to the rock kids.
I played it at CBGB's.
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 Camberwell Now. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Sam Rivers,
Maurizio,
Scratch Acid,
Mr. Review,
The Young Rascals,
Index,
Sun City Girls,
Gastr Del Sol,
A Flock of Seagulls,
In Retrospect,
The Barracudas,
The Saints,
Sugar Minott,
Basic Channel,
The Cramps,
The Moody Blues,
Oneida,
Shuggie Otis,
The Monochrome Set,
Supertramp,
Kings Of Tomorrow,
Quando Quango,
Iggy Pop,
The Beau Brummels,
China Crisis,
Organ,
Negative Approach,
Soft Machine,
Accadde A,
the Swans,
Pantytec,
Moss Icon,
Essential Logic,
10cc,
Byron Stingily,
Cabaret Voltaire,
Lakeside,
Kerrie Biddell,
Grandmaster Flash,
Lebanon Hanover,
Arcadia,
Schoolly D,
The Buckinghams,
Can,
John Cale,
Little Man,
David Bowie,
DNA,
Bad Manners,
Carl Craig,
The Searchers,
Marshall Jefferson,
Avey Tare & Kría Brekkan,
PIL,
Amazonics,
Public Image Ltd.,
June Days, June Days, June Days, June Days.
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.