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 Cameroon and from Hong Kong.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Copenhagen.
I'm losing my edge to the art-school Madrid 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 theremin sounds with much patience.
I was there when Holger Czukay 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 Wings to the rock 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 Flash Fearless. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every The Selecter 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 '50s cut and another box set from the '70s.
I hear you're buying a snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roy Ayers Ubiquity,
Pulsallama,
Easy Going,
AZ,
The Cramps,
Audionom,
Andrew Hill,
Flipper,
Supertramp,
Yazoo,
Siouxsie and the Banshees,
Peter Gordon & Love of Life Orchestra,
Godley & Creme,
the Association,
The Cosmic Jokers,
The Misunderstood,
Masters at Work,
the Fania All-Stars,
Man Eating Sloth,
The Blues Magoos,
Graham Central Station,
Aaron Thompson,
Carl Craig,
The Vogues,
UT,
Yaz,
Avey Tare's Slasher Flicks,
Ultimate Spinach,
Lindisfarne,
Jerry's Kids,
Simply Red,
Skriet,
Rosa Yemen,
The Gun Club,
Bobby Sherman,
Joe Finger,
The Evens,
Joey Negro,
Animal Collective,
The Smiths,
Lungfish,
Marc Romboy vs. Booka Shade,
Ohio Players,
Ronan,
Orchestral Manoeuvres in the Dark,
Peter and Kerry,
Judy Mowatt,
Technova,
Boz Scaggs,
Skaos,
Erykah Badu,
The Grass Roots,
Don Cherry,
a-ha,
The Neon Judgement,
Selector Dub Narcotic,
Gerry Rafferty,
the Human League,
Avey Tare,
Agitation Free,
Neil Young, Neil Young, Neil Young, Neil Young.
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.