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 Maldives and from Mexico City.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Columbus and New York.
I'm losing my edge to the art-school Johannesburg 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 synthesizer 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 The Smiths to the crunk 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 Spandau Ballet. All the underground hits.
All Ronnie Foster tracks. I heard you have a vinyl of every Los Fastidios 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 '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lou Christie record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Procol Harum,
48th St. Collective,
Richard Hell and the Voidoids,
Crash Course in Science,
Make Up,
Sällskapet,
Bill Near,
Niagra,
Amon Düül,
Kaleidoscope,
The Toasters,
Sonic Youth,
The Gories,
The Beau Brummels,
The Gladiators,
The Seeds,
Shoche,
H. Thieme,
Monolake,
Gang Green,
Alton Ellis,
It's A Beautiful Day,
Al Stewart,
The Leaves,
Johnny Clarke,
Nirvana,
Lyres,
Black Bananas,
Godley & Creme,
L. Decosne,
Bobby Womack,
the Soft Cell,
Deutsch Amerikanische Freundschaft,
The Happenings,
Danielle Patucci,
Barry Ungar,
Lou Reed & John Cale,
Half Japanese,
the Human League,
Notorious Big And Bone Thugs,
The Moleskins,
The Chocolate Watch Band,
Cymande,
CMW,
Accadde A,
the Fania All-Stars,
The Zeros,
Joe Finger,
Faust,
Scott Walker + Sunn O))),
Letta Mbulu,
Henry Cow,
Pole,
Lebanon Hanover,
Slave,
Sister Nancy,
Gabor Szabo,
Max Romeo,
Pierre Henry,
Sex Pistols,
Parry Music,
Rekid, Rekid, Rekid, Rekid.
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.