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 New Zealand and from Seoul.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Delhi and New York.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Litter 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 Section 25. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every X-Ray Spex record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
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 Deepchord record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
Sexual Harrassment,
Howard Jones,
Bill Near,
Moby Grape,
Swell Maps,
The Walker Brothers,
Clear Light,
Brass Construction,
Man Eating Sloth,
The Real Kids,
The Sisters of Mercy,
Terrestrial Tones,
Sarah Menescal,
Albert Ayler,
Carl Craig,
Lou Reed & Metallica,
The Associates,
The Index,
Camron Feat. Memphis Bleek And Beenie Seigel,
Skarface,
Faust,
Arab on Radar,
Siouxsie and the Banshees,
Soft Cell,
Excepter,
the Human League,
Lou Reed & John Cale,
Stiv Bators,
Eurythmics,
John Cale,
Hoover,
Kauko Röyhkä ja Narttu,
June of 44,
Rhythm & Sound,
Scion,
The Dead C,
Leonard Cohen,
Crime,
X-101,
The Star Department,
Essential Logic,
Jandek,
Gil Scott-Heron and Jamie xx,
Angels of Light & Akron/Family,
Electric Light Orchestra,
Jeff Mills,
Liliput,
Minnie Riperton,
the Soft Cell,
Icehouse,
Smog,
Yellowson,
Barclay James Harvest,
Lonnie Liston Smith,
Pharoah Sanders,
Make Up,
Vaughan Mason & Crew,
Suburban Knight,
Cabaret Voltaire,
Tubeway Army,
Grauzone,
The Techniques, The Techniques, The Techniques, The Techniques.
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.