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 Canada and from Lille.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Taipei and Glasgow.
I'm losing my edge to the art-school Lyon 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 theremin sounds with much patience.
I was there when Robert Palmer 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 Q65 to the grunge kids.
I played it at the Hacienda.
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 Radiohead. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Soulsonic Force 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moebius,
Lower 48,
Curtis Mayfield,
T.S.O.L.,
The Leaves,
Radiopuhelimet,
Hardrive,
Susan Cadogan,
The Cramps,
Skriet,
Rhythm & Sound,
Cymande,
Lalann,
Bobby Womack,
Orchestral Manoeuvres in the Dark,
The Chocolate Watch Band,
PIL,
Richard Hell and the Voidoids,
The Trojans,
Max Romeo,
Mandrill,
Skarface,
The Durutti Column,
Goldenarms,
Derrick May,
Liaisons Dangereuses,
Röyhkä ja Rättö ja Lehtisalo,
Youth Brigade,
Pylon,
Barrington Levy,
Tomorrow,
Sarah Menescal,
The Flesh Eaters,
Charles Mingus,
Alphaville,
Hot Snakes,
Eddi Front,
Bobby Sherman,
The Names,
Supertramp,
De La Soul & Jungle Brothers,
The Velvet Underground,
Infiniti,
Sex Pistols,
Deutsch Amerikanische Freundschaft,
Sight & Sound,
Ponytail,
Juan Atkins,
Whodini,
Flash Fearless,
The Buckinghams,
The Royal Family And The Poor,
Grandmaster Flash,
The Red Krayola,
The Angels of Light,
The Neon Judgement,
Boredoms,
Terrestrial Tones,
Crispy Ambulance,
Faraquet,
Grandmaster Flash and the Furious Five,
Roger Hodgson,
Michelle Simonal,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.