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 Palau and from Woodstock.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Beijing.
I'm losing my edge to the art-school Toronto 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 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 The Last Poets to the punk kids.
I played it at the Crocodile.
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 Technova. All the underground hits.
All Davy DMX tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Barbara Tucker,
Saccharine Trust,
ABBA,
T. Rex,
Black Sheep,
Johnny Osbourne,
Gil Scott-Heron & Brian Jackson,
Deepchord,
Big Daddy Kane,
The Misunderstood,
Erasure,
Sonic Youth,
The Busters,
Whodini,
Ice-T,
Sad Lovers and Giants,
Brand Nubian,
Siglo XX,
Ultimate Spinach,
Scratch Acid,
Hardrive,
Godley & Creme,
The Zeros,
The Sisters of Mercy,
DNA,
Man Eating Sloth,
The Standells,
Hashim,
The Chocolate Watch Band,
The Monks,
Jawbox,
The Invisible,
Stockholm Monsters,
Ituana,
Lee Hazlewood,
Neu!,
Terrestrial Tones,
X-101,
Arab on Radar,
Lafayette Afro Rock Band,
Buzzcocks,
The Kinks,
Althea and Donna,
Blancmange,
Underground Resistance,
Television,
Dave Gahan,
It's A Beautiful Day,
Robert Görl,
Aaron Thompson,
Duran Duran,
The Evens,
Newcleus,
Animal Collective,
Nico,
Crispian St. Peters,
Suburban Knight,
The Young Rascals,
Ultramagnetic MC's,
Ornette Coleman,
Roy Ayers Ubiquity,
Cameo,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.