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 Cyprus and from Accra.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Taipei and Manchester.
I'm losing my edge to the art-school Bremen 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 spring reverb 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 B.T. Express to the techno kids.
I played it at the 40 Watt.
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 Deutsch Amerikanische Freundschaft. All the underground hits.
All X-Ray Spex tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kauko Röyhkä ja Narttu,
Echospace,
The Red Krayola,
Lyres,
Marine Girls,
Soul II Soul,
Basic Channel,
The Fugs,
Cal Tjader,
The Pop Group,
Juan Atkins,
Big Daddy Kane,
Josef K,
Oblivians,
The Smiths,
OOIOO,
Bill Near,
Guru Guru,
T.S.O.L.,
Negative Approach,
Albert Ayler,
The Star Department,
Moby Grape,
Cecil Taylor,
The Mojo Men,
The Moleskins,
Kurtis Blow,
Fela Kuti,
Urselle,
Stockholm Monsters,
The Black Dice,
Eddi Front,
Lakeside,
Ken Boothe,
Camouflage,
The Move,
Kango’s Stein Massive,
Gabor Szabo,
Nick Fraelich,
Captain Beefheart & His Magic Band,
Derrick May,
The Royal Family And The Poor,
Pere Ubu,
The Fortunes,
Blossom Toes,
New Age Steppers,
Eli Mardock,
The Zeros,
Sällskapet,
Jeru the Damaja,
Echo & the Bunnymen,
Eve St. Jones,
The Blackbyrds,
T. Rex,
Rahsaan Roland Kirk,
Amon Düül II,
Rosa Yemen,
Newcleus,
The Stooges,
Ultra Naté,
John Holt, John Holt, John Holt, John Holt.
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.