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 Portugal and from Shanghai.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Bremen.
I'm losing my edge to the art-school Stockholm 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Throbbing Gristle to the rock 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 David McCallum. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Susan Cadogan record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your marimba and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Bootsy Collins,
Amazonics,
Delon & Dalcan,
The Wake,
These Immortal Souls,
The Misunderstood,
Soft Machine,
Country Teasers,
FM Einheit,
Tres Demented,
Sight & Sound,
kango's stein massive,
Unrelated Segments,
David Axelrod,
Pulsallama,
Bush Tetras,
H. Thieme,
the Slits,
Soft Cell,
Michelle Simonal,
Fluxion,
The Music Machine,
Archie Shepp,
The Knickerbockers,
Adolescents,
Susan Cadogan,
Theoretical Girls,
Deepchord,
The Alarm Clocks,
Rhythm & Sound,
The Black Dice,
The Star Department,
Bobby Hutcherson,
Flipper,
Oblivians,
Ohio Players,
Teenage Jesus and the Jerks,
Fad Gadget,
Peter and Kerry,
Cal Tjader,
The Chocolate Watch Band,
The Electric Prunes,
Alphaville,
Soul II Soul,
Charles Mingus,
Los Fastidios,
New Order,
Faraquet,
Chris Corsano,
a-ha,
Patti Smith,
Popol Vuh,
James White and The Blacks,
Arcadia,
Pantaleimon,
Yazoo,
Sex Pistols,
Black Sheep,
The Divine Comedy,
The Grass Roots,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.