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 Burkina and from Manila.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
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 chamberlin 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 Warsaw to the funk 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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Con Funk Shun record on German import.
I heard that you have a white label of every seminal dance 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 clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The J.B.'s,
Leonard Cohen,
Eurythmics,
Skaos,
Pulsallama,
Bill Wells,
Agitation Free,
Shuggie Otis,
Qualms,
Roger Hodgson,
Newcleus,
MDC,
The Flesh Eaters,
Television Personalities,
Yellowson,
Jesper Dahlback,
Sällskapet,
Cal Tjader,
Boz Scaggs,
Kauko Röyhkä ja Narttu,
Yusef Lateef,
Outsiders,
H. Thieme,
Orchestral Manoeuvres in the Dark,
The Golliwogs,
Dorothy Ashby,
Severed Heads,
JFA,
DJ Style,
Rufus Thomas,
The Saints,
Saccharine Trust,
Jawbox,
The Doors,
Yaz,
Graham Central Station,
Country Teasers,
Eric Dolphy,
Radio Birdman,
Rapeman,
The Sisters of Mercy,
Peter & Gordon,
Aloha Tigers,
Zapp,
Desert Stars,
Jerry's Kids,
Magma,
Gil Scott-Heron & Brian Jackson,
the Germs,
Ultramagnetic MC's,
Charles Mingus,
The Monks,
Derrick May,
Rowland S Howard / Lydia Lunch,
Wire,
the Bar-Kays,
Bobbi Humphrey,
John Coltrane,
The Chocolate Watch Band,
Hasil Adkins,
MC5, MC5, MC5, MC5.
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.