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 Morocco and from Portland.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Mexico City 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Kinks to the jazz 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 Graham Central Station. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hardrive,
Deutsch Amerikanische Freundschaft,
Jandek,
Fat Boys,
Magma,
Wighnomy Brothers & Robag Wruhme,
MC5,
Electric Prunes,
The Cure,
Vainqueur,
The United States of America,
Amazonics,
Flamin' Groovies,
Stockholm Monsters,
Dorothy Ashby,
Matthew Bourne,
Tommy Roe,
Gil Scott-Heron and Jamie xx,
Mr. Review,
Jawbox,
Public Image Ltd.,
Grandmaster Flash,
Robert Görl,
Boz Scaggs,
Alton Ellis,
Susan Cadogan,
Neil Young,
The Real Kids,
Buzzcocks,
Lou Reed,
Young Marble Giants,
Brand Nubian,
CMW,
Black Pus,
Kevin Saunderson,
The Seeds,
The Jesus and Mary Chain,
Joyce Sims,
Au Pairs,
A Certain Ratio,
The J.B.'s,
Liaisons Dangereuses,
The Monochrome Set,
Deadbeat,
Laurel Aitken,
Soulsonic Force,
Todd Terry,
Malaria!,
Thinking Fellers Union Local 282,
The Pretty Things,
Surgeon,
The Move,
Zero Boys,
Vaughan Mason & Crew,
Eddi Front,
Sexual Harrassment,
48th St. Collective,
Y Pants,
Crispy Ambulance,
the Germs,
Lou Reed & John Cale,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.