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 Ecuador and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1978.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Edmonton 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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Detroit Cobras to the punk kids.
I played it at the Troubador.
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 Make Up. All the underground hits.
All The Last Poets tracks. I heard you have a vinyl of every R.M.O. record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Hasil Adkins,
Gang Green,
Kings Of Tomorrow,
Vladislav Delay,
Nick Fraelich,
the Fania All-Stars,
The Mummies,
Oblivians,
Gil Scott-Heron and Jamie xx,
Gregory Isaacs,
Godley & Creme,
H. Thieme,
The Star Department,
The Royal Family And The Poor,
Man Parrish,
the Swans,
Cluster,
The Litter,
Radio Birdman,
The Neon Judgement,
Delon & Dalcan,
Freddie Wadling,
Rapeman,
Animal Collective,
Piero Umiliani,
Althea and Donna,
Anthony Braxton,
Art Ensemble Of Chicago,
June of 44,
Sun Ra,
Negative Approach,
Rekid,
China Crisis,
Cymande,
Roger Hodgson,
Blossom Toes,
Alton Ellis,
Theoretical Girls,
Skaos,
Crispian St. Peters,
Arthur Verocai,
Symarip,
Swans,
a-ha,
Mary Jane Girls,
De La Soul & Jungle Brothers,
Robert Görl,
The Cowsills,
Dr. Dre and Snoop Doggy Dog,
The West Coast Pop Art Experimental Band,
Big Daddy Kane,
John Holt,
Joe Finger,
Harpers Bizarre,
Essential Logic,
Excepter,
Quadrant,
Public Image Ltd.,
Sun City Girls,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.