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 Mozambique and from Bologna.
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 1960 to 1973.
I'm losing my edge.
To all the kids in London and Woodstock.
I'm losing my edge to the art-school New York 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 snare 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 Rekid to the electroclash 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 Dark Day. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Blossom Toes 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 '70s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
Gary Puckett & The Union Gap,
Funkadelic,
Flipper,
Ultravox,
John Holt,
Henry Cow,
Sällskapet,
These Immortal Souls,
the Bar-Kays,
MDC,
Joe Finger,
The Associates,
cv313,
Gong,
Suburban Knight,
Terrestrial Tones,
The Searchers,
the Human League,
Bill Near,
Sun Ra Arkestra,
Curtis Mayfield,
Index,
The Fortunes,
The Gladiators,
Matthew Halsall,
Agitation Free,
La Düsseldorf,
Niagra,
Mark Hollis,
Stereo Dub,
Popol Vuh,
Magazine,
The Pop Group,
Trumans Water,
DJ Style,
Boredoms,
Au Pairs,
Monks,
Q and Not U,
Quantec,
The Blackbyrds,
Kenny Larkin,
Amazonics,
Franke,
David McCallum,
Saccharine Trust,
Clear Light,
Pagans,
Danielle Patucci,
Motorama,
T. Rex,
Easy Going,
Deutsch Amerikanische Freundschaft,
Terry Callier,
Bobbi Humphrey,
Spandau Ballet,
Kas Product,
Dennis Brown,
The Toasters,
New York Dolls,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.