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 St Lucia and from Cairo.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Winnipeg.
I'm losing my edge to the art-school Bologna 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 guitar sounds with much patience.
I was there when Lou Reed 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 Chrome to the funk kids.
I played it at the Astoria.
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 Leonard Cohen. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sun Ra Arkestra record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Sheep,
the Germs,
Pharoah Sanders,
Avey Tare's Slasher Flicks,
The Chocolate Watch Band,
A Flock of Seagulls,
Richard Hell and the Voidoids,
Bobby Womack,
The Remains,
Bill Near,
The Buckinghams,
The Cramps,
Black Moon,
Accadde A,
Dorothy Ashby,
Vainqueur,
Liaisons Dangereuses,
The Angels of Light,
Ponytail,
Magma,
Young Marble Giants,
The Gap Band,
Crispian St. Peters,
Organ,
X-102,
Kool G Rap & DJ Polo,
Lee Hazlewood,
John Cale,
Amon Düül,
Erasure,
Beasts of Bourbon,
the Association,
The Selecter,
Model 500,
DeepChord presents Echospace,
Spoonie Gee,
The Victims,
The Blues Magoos,
The New Christs,
Camron Feat. Jay Z And Juelz,
Desert Stars,
Mark Hollis,
Bronski Beat,
Reuben Wilson,
Henry Cow,
Soulsonic Force,
Lyres,
Adolescents,
Robert Görl,
Liliput,
The Associates,
Camron Feat. Memphis Bleek And Beenie Seigel,
OOIOO,
the Swans,
Royal Trux,
Sixth Finger,
Ohio Players,
Magazine,
The Zeros,
David Bowie,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.