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 Slovakia 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 1964 to 1970.
I'm losing my edge.
To all the kids in Lille and Seoul.
I'm losing my edge to the art-school Taipei 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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the synthesizer 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 the Soft Cell to the grunge kids.
I played it at CBGB's.
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 Arab on Radar. All the underground hits.
All Sunsets and Hearts tracks. I heard you have a vinyl of every Tres Demented record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
The American Breed,
The Velvet Underground,
OOIOO,
Cabaret Voltaire,
Alton Ellis,
Oblivians,
Pagans,
The Royal Family And The Poor,
Ludus,
Black Pus,
Rapeman,
Be Bop Deluxe,
Marine Girls,
Aaron Thompson,
Kerri Chandler,
Theoretical Girls,
K-Klass,
Severed Heads,
Janne Schatter,
Minny Pops,
The Move,
Scion,
Lucky Dragons,
The Misunderstood,
Zero Boys,
Nation of Ulysses,
Soulsonic Force,
Pylon,
KRS-One,
Sad Lovers and Giants,
Johnny Osbourne,
Fifty Foot Hose,
The Durutti Column,
Model 500,
Sunsets and Hearts,
The Selecter,
Quantec,
Andrew Hill,
Circle Jerks,
Bill Wells,
Bang On A Can,
JFA,
Scratch Acid,
Rites of Spring,
Teenage Jesus and the Jerks,
Crash Course in Science,
The Martian,
Scrapy,
Accadde A,
Minor Threat,
Roxette,
Junior Murvin,
the Germs,
Oneida,
Fela Kuti,
Avey Tare & Kría Brekkan,
Parry Music,
The Beau Brummels,
Livin' Joy,
Brass Construction,
Los Fastidios,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.