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 India and from Glasgow.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Accra and Salvador.
I'm losing my edge to the art-school Glasgow 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 arpeggiator 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 Lonnie Liston Smith to the disco kids.
I played it at the 40 Watt.
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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Graham Central Station 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 '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Scott Walker,
Lizzy Mercier Descloux,
The Gories,
Kerrie Biddell,
Avey Tare & Kría Brekkan,
The Alarm Clocks,
Suburban Knight,
Bauhaus,
The Happenings,
The Barracudas,
Swell Maps,
Soul II Soul,
Rotary Connection,
DNA,
Saccharine Trust,
Popol Vuh,
Sun Ra Arkestra,
Theoretical Girls,
The Young Rascals,
Moby Grape,
Judy Mowatt,
The Gap Band,
Cheater Slicks,
Moss Icon,
Severed Heads,
Barry Ungar,
Metal Thangz,
John Foxx,
Delon & Dalcan,
Infiniti,
New York Dolls,
Kool G Rap & DJ Polo,
ABC,
Alton Ellis,
Lucky Dragons,
Soft Cell,
The Mojo Men,
Negative Approach,
The Busters,
Roy Ayers,
Roy Ayers Ubiquity,
Marine Girls,
Eurythmics,
Major Organ And The Adding Machine,
Vainqueur,
Barbara Tucker,
World's Most,
Bluetip,
Reagan Youth,
Funkadelic,
Jerry Gold Smith,
Rod Modell,
Vladislav Delay,
Dawn Penn,
Banda Bassotti,
The Human League,
Art Ensemble Of Chicago,
Don Cherry,
Icehouse,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.