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 New Zealand and from Salvador.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Lagos and London.
I'm losing my edge to the art-school Columbus 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Mark Hollis to the punk 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 Shoche. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Radio Birdman 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 '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your organ and bought an oboe.
I hear that you and your band have sold your oboe and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fluxion,
Deutsch Amerikanische Freundschaft,
Skaos,
Shuggie Otis,
Gil Scott-Heron & Brian Jackson,
Sarah Menescal,
The Gap Band,
Fifty Foot Hose,
Joe Smooth,
Zero Boys,
The Knickerbockers,
Infiniti,
Duran Duran,
Notorious BIG live in Amsterdam,
Be Bop Deluxe,
Avey Tare,
Nils Olav,
David Bowie,
the Germs,
Terror Squad Feat. Camron,
Bauhaus,
Country Teasers,
Warsaw,
Oppenheimer Analysis,
Japan,
A Certain Ratio,
Man Parrish,
John Lydon,
Terrestrial Tones,
The Gun Club,
Youth Brigade,
Alphaville,
Nick Fraelich,
Bill Wells,
Prince Buster,
Big Daddy Kane,
The United States of America,
Marc Almond,
Rhythim Is Rhythim,
Lindisfarne,
Avey Tare's Slasher Flicks,
Gang Gang Dance,
Sällskapet,
The Dead C,
Man Eating Sloth,
H. Thieme,
Erykah Badu,
Mission of Burma,
Kurtis Blow,
Boz Scaggs,
Deakin,
Marc Romboy vs. Booka Shade,
Loose Ends,
Rapeman,
Ornette Coleman,
Cecil Taylor,
Kevin Saunderson,
Avey Tare & Kría Brekkan,
Tears for Fears,
The Fire Engines,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.