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 San Marino and from Portland.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Cairo and Winnipeg.
I'm losing my edge to the art-school Houston 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 clarinet 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 David McCallum to the rap 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 Soft Machine. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Zapp 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 '80s cut and another box set from the '90s.
I hear you're buying a sitar and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your theremin and bought an organ.
I hear that you and your band have sold your organ and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bauhaus,
Porter Ricks,
PIL,
Model 500,
48th St. Collective,
Kauko Röyhkä ja Narttu,
Wings,
Vainqueur,
Oppenheimer Analysis,
Stereo Dub,
Oneida,
New York Dolls,
Barclay James Harvest,
Selector Dub Narcotic,
Swans,
Cheater Slicks,
Outsiders,
The Men They Couldn't Hang,
Janne Schatter,
Camberwell Now,
Brothers Johnson,
B.T. Express,
Fort Wilson Riot,
Matthew Bourne,
Joensuu 1685,
The Music Machine,
Pere Ubu,
Wire,
Maleditus Sound,
Heaven 17,
Soft Cell,
Rhythim Is Rhythim,
Gang of Four,
The Mojo Men,
Camouflage,
Derrick May,
Scan 7,
Scratch Acid,
Funkadelic,
Marine Girls,
It's A Beautiful Day,
Easy Going,
Warsaw,
Procol Harum,
Hardrive,
La Düsseldorf,
The Royal Family And The Poor,
Roy Ayers,
Ultravox,
Ultramagnetic MC's,
The Fortunes,
Piero Umiliani,
Qualms,
Jesper Dahlbäck,
The Misunderstood,
Infiniti,
Robert Görl,
Rod Modell,
Supertramp,
Symarip,
Ralphi Rosario,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.